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INSTRUCTION 
BOOK 



With Illustrations 

To be used only as a 
Guide and Partial Study in the 

Expert Course in Dressmaking 

TAUGHT BY 
MRS. W. E. VAN AME 

IN the'' 

S. T. TAYLOR SCHOOL 

of SARTORIAL ARTS 



EDITION 1915-lG 



Entered according to Act of Congress in the year 191o, by Mrs, Emma W. V'an Aine 
in tlic office of the Librarian of Congress at Washington, D. C. 



PUBLISHED BY 

Mrs. \\'. E. Van Ame, Cleveland, Ohio 



INSTRUCTION 
BOOK 



with Illustrations 

FOR 



Sewing and Fitting Course 

S. T. TAYLOR SCHOOL AND 
PATTERN PARLORS 



EDITION 191 I 



Entered according to Act of Congress in the year 191 1, by Mrs. Emma \V. Van Ame, in the 
Office of the Librarian of Congress, at Washington, D. C. 



PUBLISHED BY 

MRS. W. E. VAN AME, Mgr. S. T. TAYLOR SCHOOL 
FORT WAYNE, INDIANA 



S. T. TAYLOR 

School of Garment Cutting, Dress Making, 

% 
Ladies' Tailoring and Designing ><''o^ 

PUBLISHERS OF 

LE BON TON and LE MONITEUR DE LA MODE United 
The Most Exclusive Magazine Published 
Established in 1851 

announcp:ment 



FORT WAYNE, IND. 

We take pleasure in announcing Ihat Mrs. W. E. Van Anie, 
of 720 Calhoun vStreet, Fort Wayne, Ind., has again been pre- 
vailed upon, through her past success and the many requests 
from patrons and jnipils. to extend her slay in Fort Wayne. 
Therefore, we beg to announce that she will continue to conduct 
personally and superintend the school for teaching the S. T. 
TAYLOR SYSTEM OF DRESS CUTTING, FITTING, DE- 
SIGNING, DRESS MAKING and LADIES' TAILORING at 
the above address for another six months. We can Ihoroughly 
recommend Mrs. Van Ame as an efficient teacher of our System 
in training pupils either for businesss or home use. Those 
desiring to become teachers of our system, or to do independent 
work, will be specially trained by her to do so. She is also 
prepared to furnish terms and locations for teachers' agencies 
upon application. Mrs. Van Ame Tdls orders for pinned paper 
models, kccjMng on display an elegant line of them. Order 
for subscriptions to our fashion journal, Lii Hon Ton .\nu Lk 
MoNiTEUR DE LA MouE I.IniTEd are filled by Mrs. \'an Ame. 



S. T. TAYLOR CO., Publishers 

Le Bon Ton and Le Moniteur De La Mode United 

1J-15 West _^,4th St., New York 



©GI,A4J7170 

DEC 13 1915 



((^-■,7^1 



Workroom Necessities 



THE TOOLS NECESSARY in the dn'ss-maker's 
shop, i)v l'<ii- those who do their own dress-making, 
are eomi)aralively few, and the eost very slight. 
But sueli as they are, they should be of the best 
(luality and kept in good repair, otherwise one can- 
not expect to get the best results. 

There is one thing never to be despised in any 
work room, and that is, a good, accurate and re- 
lial)le pattern or system of dress-cutting. When Ihis 
is not at hand, see to it that yon have good patterns 
to the individual measurement, madt' l)y some re- 
liable pattern company. 

TABLES FOR CUTTING AND BASTING. A 

good sized even table for cutting and liasting large 
pieces. A table covered with cotton duck or can- 
vas will prevent the goods from slipping when cut- 
ting out. A table covered with inlaid linoleum is 
bj' far ])referable for tracing upon. The worker 
may sit, when liandliug smaller iiarls, using an ad- 
justal)le tab! • l:i|i lioard. 

SHEARS. A pair of good quality beut handle 
shrais aliout 10 inches long for cutting purposes. 
The large opening is for the fingers and the small 
is for the thumb. The advantage of the lient shears 
is, that the.v lay closer to the table, raising the ma- 
terial but very little from the cutting surface and 
prevent any slipping of the under material. A pair 
of plain scissors, which must be in perfect condi- 
tion, sharp and even blades, and not joined loo tight- 
ly, are to lie nsed for all light work, sucli as cutting 
off threads, slashing of seams, etc., etc., wliei'e the 
large ones would be too heavy. 

TRACING WHEELS A best quality steel tracing 
wheel witii deep shar]) points, is quite essential for 
marking purposes. 

CHALK, MARKING COTTON. TRACING 
CLOTH, ilcsiih's the tracing wlieel, it is necessary 
to keep (in liand, for nuu-king purposes, white, pink 
and blue tailors' chalk, several colors of thread 
called mai'king cotton. Also a sheet of tracing 
cloth will be found a great convenience as well as a 
time and labor saver. 

DRESS FORM. A good dress form or draping 
stand is a most desirable adjunct. 'I'hese forms can 



he h;id, at very reasonable prices, in stock sizes, to 
individual measurements, or adjustable. The ad- 
juslalde form can be adjusted to any and all sizes. 

SKIRT MARKER. A good and practical skirt 
nuirker is another great time and labor saver, as the 
bottom of a skirt can be perfectly marked in two 
minutes with the proper skirt marker. But with 
tliis, as with all other dress-making conveniences, do 
not l)e inveigled into purchasing something which is 
not |iractical. 

PRESSING BOARDS. One good flat pressing 
lioard. Ou'^ curved ])ressing board. And one roll. 
,\ padded bi-nom Imndle makes an e.\eellent roll for 
pi'cssing use. 

IRONS. Two good irons for pressing. One 
shouhl weigh from 5 to 7 lb.s., for pressing seams, 
'i'he other from 8 to 14 lbs., for pressing the bottom 
of skirts, coats, etc. 

NEEDLES— THREAD. Only the best quality of 
needles should be employed. Before using, always 
test a needle to make sure of a sharp point. Never 
use a needle which is blunt on the point, or which 
lias become bent. Employ Nos. 5 to 7 for ordinary 
w(n-k and 8 to 10 for fine hemmming and shirring. 

Foi- thread 20, 24 and 30, use No. 5 needle. 
Thread 36 and 40, use No. 6 needle. 
Thread 50 and 60, use No. 7 needle. 
Thread 70 and 80, use No. 8 needle. 
Thread 90 and 100, use No. 9 needle. 
Thread over 100. iise No. 10 needle. 

The size of the thread to be used depends upon 
tiii> quality of the work. Never use other than a 
good quality, snuio'th thread. 

PINS. Avoid using an infei'ior (]uality of pins, 
as they will leave an obvious hole on removing them, 
and besides will not penetrate the material smoothly. 
For pinning silks, velvets and daint.y fabrics use 
fine needles, as they leave no mark after being re- 
moved. 

SEWING MACHINE. The sewing ma.'hine 
should receive much consideration. Always keeji it 
in good working order, with a perfect stitch. 



INSTRUCTION BOOK FOR SEWING AND FITTING COURSE 



TAPE MEASURE. The tnpe measure should be 
of stroniT liiKU and tested as to aceuraey. An in- 
ai'curate tape measure ^vill eause mueh trouble and 
niauy mistakes. 

THIMBLE. The thimble must be good fitting. 
Xcilhcr toil large nor too small and is to be worn ou 
the seeond finger of the right hand. 

SKIRT RULE AND SQUARE. A 4S-ineh skirt 



rule and a perfect tailors' square should find a 
plaee in every work room. 

MIRROR. The fitting mirror should be sufficient- 
1\ huge to reflect a view of the figui-e from the 
crown of the head to the tips of the shoes. 

SEWING CHAIR. The seAving chair should be 
free from arms. It should be low to avoid the use 
of foot stools. 



Sponging and Shrinking 



Great care and attention should be directed to- 
ward the careful shrinking of all Avoolens and linens 
and such weaves and materials as are inclined to 
shrink when coming in contact with dampness. For 
if this part of the work is not properly done much 
trouble results later on in the construction and be- 
sides there is the risk of the garment losing its 
shape, should it be worn on a damp day or be 
caught in the rain. 

Different materials should be treated according 
to their various needs. Remove all selvedges before 
putting the cloth to the process of shrinking. 

BROADCLOTH must be shrunk by steam. On a 
well ]>a(lded talde. the larger the better, spread 
two thicknesses of the broadcloth and over this lay 
a thick cotton cloth that is quite wet. With a rather 
hot iron, press this wet cloth, forcing the steam 
down and through the broadcloth, and continue this 
jn-or-ess until the cotton cloth or sponge rag is neai"ly 
<lry. Next remove the sponge rag and with your 
iron, which by that time will not be too hot. press 
your broadcloth until it is quite dry. and there will 
be very little "shrink" left, and its glossy finish 
and lK>auty will lii> nniiniiaind. 

GLOSSY FINISHED WOOLENS. Th." above 
rule for shrinking broadt-loth ai)plies to all weaves 
with a glossy finish which require shrinking. 

CHEVIOTS. SERGES AND ALL WORSTEDS 
THAT ARE MADE WITHOUT A GLOSSY FIN- 
ISH must be shi'uid^ by being rolled (in a board with 
■A wft cloth Itetwecn the folds in the following man- 
ner: Unl)leach<'cl muslin a yard wide makes the best 
shrinking cloth, because it is wide enough to extend 
beyond the edges of the woolen, aiul all parts thei'C- 
fore receive an equal amount of moisture. The mus- 
lin should be at least a yard longer than the piece of 
goods to be sponged. Wet it in sliglitly warm water. 
If the goods to be sponged is a light weight material, 
the shrinking cloth shoidd be wrung until reason- 



ably dry, but if it is thick and heavy, do not wring 
mueh. Spread the goods out smooth on a long table 
with the right sides folded in. then lay the wet 
cloth on it. straightening out all wrinkles. The end 
of tiie wet cloth should extend two or three feet 
beyond the goods. Take a board as long as the 
goods is wide folded, and about ten inches wide 
and roll the goods on it, first wrapping the end of 
the wet cloth around it. Care must be taken that 
folds or plaits are not prevalent when rolling up the 
material, as they will be quite difficult to remove 
when they are once in. Leave the material on the 
board from 2 to 4 hours according to the thickness 
of it, as it must be thoroughly dampened all the way 
through, after which it should be pressed until it is 
dry. Use irons that are only moderatelj' hot, for 
the shrinking yaW be more complete if the pressing 
is done slowly. This process of shrinking uuist 
never be used for materials with a glossy finish. 
However, the steam process used for glossy ma- 
terials would not be effective enough for other suit- 



LINENS tliat are intended for tub suits should 
be immersed in water and dried in the open air. 
Repeat this treatment two or three times, for linen 
shrinks more while it is drying than when it is in 
the water. Before it is entirely dry. after wetting 
it for the last time, linen should be pressed smooth 
with moderately hot ii-ons. The average linen suit- 
ing can remain in water over night without in.iury. 
While the drying is taking place, care should be 
taken not to have too strong a light on the linen, for 
the best dyes are sometimes damaged if left in a 
very bright light for any length of time. 

CANVAS AND HAIRCLOTH. Canvas and 

haircloth should lie [lut in water and left for at least 
half an hour. Then it is taken out and hung up to 
dry and just before it is dry. take a hot iron, press 
it dry, using care to press all the wi'inkles out. Every 



S. T. TAYLOK SCHOOL AMD PATTERN TAliLORS 



sci'iip of canvas placi'd inside of a dress or coat, 
should be tlioroughly shrunk. 

Hear in mind that all materials must be perfectly 
dry before attempting to cut into them. 



The above instructions will only sponge and 
shrink, but not refinish goods, this being only pos- 
sible at such places where they have the necessary 
machinerv to do it with. 



Patterns 



The pattei-ns used in cutting a i^aiiueiii should 
correspond as near as possible with the measure- 
ments of the individual for whom the garment is to 
!)(' made. Jf you use the S. T. Taylor system of 
dress and garment-cutting, you will not have any 
difficulty in this respect and alterations will practic- 
ally be unnecessary. If you do not use the S. T. 
Taylor system, then an S. T. Taylor pattern to iiuli- 
vidual measurements will be found economy and 
well worth the price we ask for them. When used 
in combination with this instruction book the re- 
sults are highly satisfactory. In many instances 
alterations will be unnecessary, and when altera- 
tions are required, they will be very slight and sim- 
ple. (See fitting.) S. T. Taylor patterns are illus- 
trated in their fashion magazine "'Le Bon Ton." 
The price list of same, as well as pattern agencies, 
will also be found in "Le Bon Ton." The style, 
lines and fit of the S. T. Taylor patterns are far su- 
perior to all others. However, there are several 
other very reputable pattern companies who make 
patterns to measurements. Any of these patterns 
will be found much more satisfactory than the in- 
ferior patterns sold at a nominal price, with disap- 
pointment and loss of money following through the 



destrnetiou of the material for which they may be 
used. The best pattern is always economy in the end. 

LAYING OF PATTERNS ON MATERIAL. 
If you have our S, T, Taylor system of dress-cut- 
ling, you have been taught how to mark your pat- 
terns for lading on the thread of the material. If 
you use patterns made by us, you Avill find each 
part marked for the proper position on material. 
Ivieii pattern company have their patterns marked 
for the proper position on the material. It is very 
essential that the cutter pay strict attention in plac- 
ing the markings on the exact thread of the ma- 
terial. Carelessness at this part of the work will 
cause defects and trouble when putting the garment 
together and in the fitting of it. 

Calculation should always be made before cutting 
the material to prevent waste and mistakes. It is 
important to note if there is an up and down to the 
material either in the way of figure, finish or nap. 
If plaid or striped material is to be used, the match- 
ing or designing of same should be thoroughly 
jtlanned before cutting any part of the garment. 
This will be referred to again. (See Matching 
Stripes and Plaids.) 



Marking Goods 



Now that you have the pattern properly placed 
on the fabric, next you will proceed to mark all 
seams, as well as waist line, bust line, elbow line, 
elbow point, centre front of skirt, centre back of 
skirt, and all markings on the i>attern which are 
placed there to assist in joining the garment togeth- 
er. ^Liny times these markings can be made with 
the tracing wheel. A sheet of tracing cloth placed 
underneath the fabric before tracing (or between its 
folds when desiring to mark two thicknesses), the 
tracing will show more distinetlj*. Espeeiallj' is this 
a great convenience in marking soft weaves where 
tracing will not .show. 



Thread marking or tailor marking requires much 
more time, but in instances where it is desired to 
retain the mark until the garment is finished, or 
where tracing would injure the fabric, then thread 
marking is most desirable. Take a needle full of 
thread, u.sing it double, and baste on the line to be 
marked, using a rather short .stitch, at each stitch 
leave a loop large enough so you could put the end 
of your finger in; after you have it all marked, and 
cut out (See IIow to Cut Out Material) , pull the 
cloth apart as far as the loops will permit and cut 
the marking thread in the centre between the two 
sides of the cloth, which will leave both sides of both 
pieces of the cloth marked. 



INSTRUCTION BOOK FOR SEWING AND FITTING COURSE 



How to Cut Out Material— Allowing for Seams 



Great cai'o must 1)0 cxcreised in cutting out cloth 
to allow for all scams, hems and turnings. The 
amount to allow on the shoulder and underarm 
seams is % oi' im im'h at each, 2 inches at the open- 
ing of the lining waist ; 1 inch at the centre back 
seam of skirt, 1 inch at the bottom of skirt for al- 



terations, and I/O inch for all other seams. The al- 
lowance at the openings of fancy waists must be in 
accordance to the style of closing selected. The 
allowance at the bottom of skirts must also be made 
according to the manner of finish intended. 



Finishing Closing Edges 



First finish the closing edges: — Cut an inch wide 
strip of (previously shrunk) canvas on the true bias, 
making it as long as the closing edge of the garment. 
Baste it along the inner edge of the marking for the 
closing edge ; then fold the 2 inch hem allowance at 
the marking over the canvas and baste to position, 
^[achine stitch one-eighth inch from edge of closing 
from neck curve to bottom of waist. Stitcth again 
the full length of the closing three-eight.s of an inch 
inside of the first closing. Mark the closing directly 
ojiposite the top of the first dart, then mark again 
at 1 inch below the mark. Measure from the last 
mark to within % inch from the bottom of the 
waist, and cut a whale bone the .same length as the 
measurement. (For preparing whalebone for use 
s(>e Boning). Hold the fi'ont with the right side up 



and slip the l)one, from the bottom up, into the cas- 
ing made by the two stitchings, placing the bone 
between the lining and canvas, keeping the canvas 
underneath the lione. (The canvas, later on, will 
be in readiness as a substantial stay to sew the hooks 
and eyes to.) Slip the bone upward until it is i/'o 
inch above the bottom of the waist, then fasten at 
the waist line, spring slightly, and fasten i/2 inch 
below top of bone, again at every 2 inches between 
the two fastenings. Then fasten at bottom of bone 
and once again midway to the waist line. (For fas- 
tening and springing bones, see Boning.) The two 
closing edges are to be finished exactly alike. The 
hooks to be sewed on the right side, the eyes on the 
left. 



Sewing On Hooks and Eyes 



]\rake a Tiiark on the underside of the closing edge 
at the waist line and mark at ev(>ry three-fourths of 
an inch from that mark to the neck curve ; then 
umi-k from the waist line at every three-fourths of 
an inch to the bottom of the waist. Both closing 
edges are to be marked in the same manner. 

At each mark, along the right closing edge sew 
a No. 2 hook, keeping the bill of th(^ hook one-eighth 
of an inch back fi'om the edge. Sew with a single 
thread, button hole twist being ]ireferable. Sew 
through each looj) lliree times, catch a back stitch 
at the side to fasten thread, carry thread to bill of 
hook and fasten bill. Again catch back .stitch at 
side of hook and pass thread along to the next mark 
and so on until all the hooks are in place. Precise 
care must be taken so that Uw hooks when sewed in 
position will rest perfectly horizontally and exactl.V 
on the nuirks. If the hooks or ey(>s are ajiplied in a 
twisted position, the garment will never fit correct- 
ly. Turn the 2 inch allowance hem over under the 
bill of the hooks, alloM'ing it to r(>st ea.sy against tlie 
hook turning; baste in position then fell, with close. 



even stitches, along the edge which rests under the 
bill of the hooks. Cut tlie canvas away so it does 
not show, and blind the other edge of hem. 

Sew loop eyes on the left closing edge allowing 
them to project one-eighth inch from edge. With a 
single thread of twist sew through each ring three 
times. Fasten at side with backstitch and carry 
thread along to next mark and so on until all the 
eyes are in position. Turn the 2 inch allowance 
hem over the eyes to within one-sixteenth inch of tlie 
closing edge. Baste to position and ovei-hand with 
small, close stitches, catching two stitches within the 
loop of the eye. Cut the c;nivas away so it does not 
show and blind the other edge of h(>m. The eyes 
must be set accurate and true, the same as the hooks. 

Where the hem is not wide enough to permit of 
the above finish, cover the fastening of the hooks 
and eyes as well as the edge of the hem by facing 
with a bias strip of thin silk. Fell ])oth edges down 
very smoothly. Ribbon oi- single bone casing may 
also b(> apidied, this being sewed on a trifle full to 
ndmit oT the outside gixiug to the foi-iii. 



S. T. TAYLOli SCHOOL AND PATTEHX PARLOUS 



How to Do Basting 



The foundation of a great many evils in dress- 
making is often duo to inaceuratc and poor l)asting. 
Good and thorough basting is one of the things you 
must depend on for "that smartly finished effeet" 
so deserving of ailmiration in first-elass work and 
so hai'd for l)eginnei's or indifferent workers to ob- 
tain. Tlie jjroper hasting of an ordinary eoat re- 
((uiries about twenty houi-s' woi-k. wiiilc tiie actual 
maehiue stiteiiing tloes not eonsume more than one 
hour. From tiiis ratio you will uniler.-tantl iiow im- 
portant a good workman considers the hasting. 
Therefore, baste carefully and projierly and the re- 
sult will be visible in every detail of your work. Xo 
one can expect to master the art of i)erfect dress- 
making who is not willing to baste well. Ten or 
fifteen minutes' carelul basting will often obviate a 
half day's ripping and changing. A dress never 
looks or fits well that has been taken apart for 
changes or alterations. Consequentl.v. remember "a 
good baster makes a good dressmaker," and that 



"good basting insures good fitting." It is necessary 
to have the bastings true and even that they may 
be used as a guide when stitching. By stitching 
closely along the basting, either inside or outside of 
it, and not crossing it, will avoi<l all ])ossil)ility of 
catching the basting thread in with the stitching or 
of breaking the sewing when the basting is drawn 
out. It also facilitates the removing of the basting. 

THREAD NOS. 50 OR 60 should always be em- 

liloycd for >;('iii ral liasting. The needle employed 
for basting should be short (they are called "Be- 
tweens" or Tailors' Needles), No. 7 is the correct 
size for general basting. This style needle will 
enable the seamstress to take deep, firm sitehes. 
close togethei-, which will hold the goods so firmly 
while the nuichine stitching is being done that the 
improvement will be noticeable to even an un- 
tiained eye. leaving behind one of the' earmarks of 
the amateur dressmaker. 



For Basting 



PREPARING THE WAIST LINING FOR BAST- 
ING, l-'irsl take a iirrdlc ami tlnva.l .-lud IlinIc 

along in small stitches like this — 

on the waist and bust lines of each piece 
of the waist and on the center front lin(> of 
each front. As the arndioles and neck of a garment 
are liable to stretch when handling, a basting thread 
must be run around these along the marking for the 
seam, using the above size stitch, and drawing the 
thread up natural, that is. luuther too tight nor too 
loose. Then fasten .so that it cannot give. This will 
avoid any undn(> stretching ai-ound arndiole or neck 
curve. Use a different colored thi'<'ad to run these 
lines in from what you use to baste the waist to- 
gether with, so that when the bastings are drawn 
out you will not accidentally draw out these, as they 
will need to be left in the lining until the waist is 
finished. 

BASTING THE WAIST LINING. In basting the 
wai>t liniiii; togetlicr make small stitches like these 
— — — — — — for, if any larger, the seams will 

gap in trying on the waist. Take but one stitch on 
the needle at a time. In .ioining the parts of the 
wai.st together, use great care that the waist lines 
ol' the i)arts to be joined are exactly together; do 
not allow lliein to \ai-v (Uii' thread. 



Tin the two back parts together at the waist line, 
then baste the centre back seam from the waist line 
up to the neck curve, then from the waist line down 
to bottom of waist. 

Pin the waist lin(> of the side form seam of the 
l)ack to the wai.st line of the corresponding seam 
of the sideform. then baste from the wai.st line uj) 
to the shouldei', keei)ing the back toward you. Then 
I'l'oni the waist line down. 

Pin the waist line of the side form seam to the 
waist line of the corresponding underai-m seam. 
Then baste from the waist line u]), keeping the side- 
form toward you. Then baste from the Avaist line 
down. 

In basting the front and side front with the seam 
extending to the shoulder, pin the top of the dart 
of the front to the top of the dart of the side front 
and l)aste from the toji of the dart to the shoulder, 
keeping the side front toward yon. Then pin the 
waist lines together, you will now find the side front 
to be one-fourth inch longer than the front. The 
extra length is to ])e gathered and evenly distribu- 
ted in a S|)aee 2 inches below the top of the dart to 
give ease over the bust. Baste from the top of the 
dart down to the liottom of the waist. 

la basting darts, pin the waist lines together, then 



INSTRUCTION BOOK FOR SEWING AND FITTING COURSE 



baste from the top of the dart down to the bottom 
of ■vvaist. 

l^aste the underarm seam of the forepart to the 
mulerarm seam of the underarm, keeping the front 
toward you, basting from the waist line up, then 
from the waist line down. 

The shoulder is now to be basted. Pin the neck 
(racing of the back at the shoulder point, to the 
neck tracing of the front, and the shoulder of the 
back at the tracing for armhole to shoulder of front 
at same tracing. You Avill find the shoulder of the 
front one-half inch shorter than the shoulder of the 
back; stretch the front until it is the same length 
as the back, keeping it stretched until basted. In 
rare cases where the front cannot be stretched 
enough, hold the back a little easy in basting. (This 
is done to make the dress fit smoothly over the hol- 
low part of the shoulder in front, obviating the 
folds and wrinkles which so frequently appear down 
the front from the shoulder and neck lines.) Baste 
Ihe shoulder seam from the neck curve to armhole, 
keeping the front toward you. 

The waist can be opened either front or back, as 
desired. If to 1)6 opened in the back, baste the two 
fronts together, by first pinning waist lines together, 
then baste from the waist line up to the neck, and 
from the waist line down to the l)ottom of waist. 

BASTING THE SLEEVE LINING TOGETHER. 
Lay the upper of the sleeve, riglit side up, on the 
basting table and the under with the right side fac- 
ing the upper on top of it ; the marking for the el- 
liow line of the upper and the marking for the el- 
bow line of the under meeting at the inside seam. 
Baste the inside seam together from the elbow line 
1o the top of the sleeve, and from the elbow line to 
the bottom of the sleeve, keeping the upper part up 
toward you. 

Lay the sleeve on the basting table so that the 
outside seam is toward you, and the under is on top 
the upper. Turn the upper part of the sleeve, the 
ti'acing for the elbow of the upper meeting the trac- 
ing for the elbow of the under, at the outside seam. 
Fasten tlie two together with a pin. Tui-n the u])per 
part of the sleeve, abovi' the dhow line, o\cr, to- 



ward the under, the two outside markings for seam 
meeting so that the upper lays pei-fectly flat on the 
table. Pin them together along the marked lines 
from the elbow line up. Then turn the upper (below 
the elbow line), over to meet the under, so that the 
upper lays perfectly fiat on the table. Pin them 
together. Now remove the pin which holds the el- 
bow lines together. Gather the fullness in a space 
of 1 inch above and 1 inch below the elbow line with 
two rows of gatherings, keeping them one-eighth 
inch apart, this will obviate the gathers pushing 
into the plaits when stitching. Then arrange the 
fullness across the elbow, evenly above and below 
the elbow^ line. Now unpin the flat seam. Then 
pin the sleeve again togetlier in the usual seam, be- 
fore basting, beginning at the top, holding the upper 
part next to you. Notch the top portion of the 
sleeve at two inches from the back seam and at 
three inches from the front seam. Gather the top 
of the sleeve with small, even running stitch on the 
marking for the seam between the notches, then 
again one-eighth inch below the first gathering. 

BASTING SKIRT FOUNDATION. First run a 

liasting along the centre l)a,ck seam as a stay to keep 
the bias edges from stretching. Thread mark waist 
line, centre front of skirt and all markings which 
are to be retained for future use. Then pin the 
seams of the skirt together at the waist line, and 
again at every two inches from the w'aist line down 
to the bottom of the skirt using care not to stretch 
the bias edges of the seams. Baste the seams, com- 
mencing at the waist line and baste to the bottom of 
the skirt keeping the bias side up. All skirt seams 
are to be pinned the full length, and all are to be 
basted the full length, with the exception of the 
seam to be used for the placket opening. This is to 
be left open from the top down from 9 to 14 inches, 
according to the size of the individual. A stay tape 
is to be basted along each edge of the placket to 
keep them from stretching. In joining two bias 
seams together they must be stayed with stay tape. 
Silk seam binding answers very nicely as a stay tape 
for light weight materials. The lining skirt is now 
rcadv for the fitting. 



How to Slash Seams 



It is decidedly wrong to attempt to fit a garment 
without first slashing the seams at the proper y)laoes 
to admit of spring. 

Slash all seams (Avith the exception of the under- 
arm and shoulder seams which are to be left un- 
slashed for convenience, in case alteration might be 
necessary), according to tlir rollowitig insti'iictions : 



Slash all seams to within one-eighth inch of the 
sewing line. 

When slashing seams at the waist line, use great 
care to slash exactly on the waist line. 

Slash the centre back seam at the waist line, and 
again at three and six inches al>ove. 



S. T. TAYLOR SCHOOL AND PATTERN PARLORS 



Slash the seam of the haek and side form at the 
waist Hue, and ajjain at tliree inches, again at two 
and and one-half inches. In the remainiler of the 
seam make two nioi'e slasiies at e(|nal distances in 
the poition of the back oid.y. 

Slash the sideforni and nnderanii scam at the 
waist line in i)oth sideforni antl nnderaiiii portions, 
and at intervals of two inches fr'om the waist line 
u|i in the side poi'tion only. 

Slash the fi'f)nt and side-front seam at the waist 
lini'. Then at one inch i)elow the to)» of the dart 
and again at half way lietwcen the tAvo clippinirs, 
again at half way between tln' top "f the d.ii-t :iiid 
the shonldcr. 

Slash dai-ts at the Avaist line, then at onc^ inch 
below the top of the dart, again at half-way between 
the two cliiii)ings. 

If the garment is to open in the back, slash th(> 
centi'c front seam at the waist line, then at oppositi' 



the slash below the top of the dai't, again at mid- 
way between the two slashes, and again at half-way 
between the U|)i)er slash and neck curve. 

The undei'arm and shouldei' seams are not to be 
slashed until the gai'meut has l)een fitted. After 
all necessary alterations have been made, before re- 
moving the waist, slash the underarm seam at the 
waist line, and twice above at equal distances. Slash 
the shoulder seam in the portion of the back only, at 
half way between the armhole and neck curve. Al- 
ways bear in mind these seams may ajijjcar some- 
what drawn, until after they have been slashed. 

Slash all seams at t^vo and one-half inches below 
the waist line. 

Sleeves ai'c slashed along the inside seam cndy. 
Slash at the elbow line, then at intervals of two 
inches the full length of the seam. After slashing, 
turn the sleeve right side out, then it is in readiness 
for tlie fitlin}!;. 



Collar Canvas for First Fitting 



Cut collar, on true bias, from jilain jiiece of thin 
•;invas. making it om and on-'-liair inches li.ngci- 
than siz(> i>\' neck where collai' is to rest, and one- 



fourth inch higher at both front and back than the 
height of the neck at front and back. See to it that 
the collar canvas is in readiness for the first fitting. 



How to Do Fitting 



The fitter frequently causes luM-self much troidjle 
through not knowing just where to commence to 
eorrect an error. She can readily see that some- 
thing is wrong, but cannot tell how to remedy the 
difficulty, and. after many trials and attempts, the 
work may seem to be right, yet the general effect 
will not be pleasing. It is the '"knowing how" that 
must be carefully acquired. 

If the garment has been correctly drafted accord- 
ing to the S. T. Taylor system, the fitting will be 
simjile and easy. If any alterations should be need- 
ed, they will be very slight. If much alteration is 
found to be necessary the worker is sadly at fault, 
eithei-, in the taking of m<>asurem(mts, in the making 
of till' draft, 01- in the joining of the parts together. 
In either instance, searcli for the mi,stake, make a 
new draft and cut a new lining. Never try to refit 
the spoiled lining. 

Hefore sli])ping the waist on for the fitting, see 
to it that the corset cover has no extra fullness be- 
low the bust line. Much of the fit of the garment 
may dei)end upon the corset cover. The corset cover 
nnist fit as smoothly, and cut from as good lines, as 
the eor.set beneath it. Wherein can lie any benefit of 



the beautiful lines and cui'ves of the high pi'iced cor- 
sets, if tlie bulkiness of an illfitting corset cover ob- 
literates them. Therefore, let the corset cover fit 
smoothly and perfcctl.y. Any embellishments in the 
mannci' of ribbons and laees should be ai)plied flatly. 
In fact, the entire corset cover may be made from 
rii)bon and laee and yet fit as smoothly as a glove. 

It is quite as important to see to it that the petti- 
coats are well fitting, with neat and smooth waist 
bands. 

TO FIT A WAIST. Slip it on. i)ull the waist line 
down to position and hook closing edge at the waist 
line. th(>n at the neck. Draw the waist (Uit on the 
shoulder toward th(> arndiol(\ smooth it across the 
bust and back. Now finish hooking the full length 
of the closing edge by eonuneneing at the waist line 
and hooking up toward the neck, then from the 
waist line down. Pull the wai.st down well all 
around at the waist line, and pin the waist line down 
firndy to the corset, first at the centre back, again at 
midway fi'om there to the neck curve. Then pin at 
the waist line the centre front to the corset, and 
again at two in(dies below the bust line, so as when 
making alterations at underarm seam the garment 



10 



INSTRUCTION BOOK 1'01{ SEWING AND FITTINC COUIiSIC 



cannot dnnv out of alignment. Should you omit 
pinning- wrll at the waist line l)efore making altera- 
tions at the slioukler, your waist will very likely 
become short waisted. 

After the garment is pinned to position, as aliovc 
directed, should it seem too tight or too loose, it is 
to be altered at the nnderarm and shoulder seams 
only, by taking in or letting out as required. (If the 
garment has been correctly cut to measurements by 
the S. T. Taylor system, if alterations should be re- 
quired they "will "be very slight). It is absolutely 
wrong (and must never be done) to alter a waist at 
the front lines, over the bust. JSlo matter how full 
the bust may be, the present way of drafting will 
always insure the necessary fullness in the seams 
over the bust. 

It should not be necessary to make any alterations, 
but the most experienced sometimes makes mis- 
takes. With l)eginners they will more frequently 
occur, and for their benefit the following instruc- 
tions are given, and will be found beneficial when 
errors are made : 

CROSSWISE WRINKLES IN THE UNDERARM 

PIECE. The i-easoii for this is, that 1lic front edge 
of the sidi' back, instead of being held a trifle full, 
was stretched to the underarm piece. To remedy 
this it will be necessary to open the seam and full it 
a little more on the nnderarm form, and baste the 
stretched edge, easy, back again to the nnderarm 
form. 

WRINKLES BETWEEN THE LAST DART AND 
UNDERARM PIECE are caused by the back seam of 
the dart being stretched. This edge must be held 
with a little ease when basting it to the opposite 
seam of the dart. The only remedy for this will be 
to open the seam of the dart, and relniste, iiolding 
the back seam a little easy on the front. 

WRINKLES IN SEAMS are often caused by 
cro()k-('d and iiii|>rrlVct basting. The only remedy 
for this is to rip, iiasic o\er again, taking care to 
have a perfect seam. Wi'inkles in seams afe some- 
tinies caused by uneven stitching or too tight tention 
on machine. Again the only remedy is rijiping and 
putting together again more perfectly. Wi'inkles 
may also be caused by th<' seams not being in'o|)erly 
slashed. 

WRINKLES AT THE WAIST LINE are usually 
caused by llie scams iKil being slash<'d deep <>nough. 
also by tight binding or overcasting. Sometimes 
they are caused by the low(>r part of the waist being 
too tight. Tf it cannot l>e stretched into shajx'. the 
seams must be let out. Then again, if the waist is 
too wide it will wrinkle. IF so it must be taken in. 



WRINKLES AT THE BACK NEAR THE NECK 

will be due to one nf the Tullowing causes: The 
centre back being too long from neck to waist line. 
In this case it will be necessary to open the shoulder 
seam and bring back up to correct position and pin. 
If much alteration is needed at this point, it will 
necessitate an alteration in the curved seam of the 
side back. If caused by the shoulders having been 
taken in or sloped too much, especially if the shoul- 
ders are too square, open the .shoulder seam from the 
neck curve toward the armhole as far as necessary, 
fit, and pin to position. The shoulder line of the 
front should not be changed when making these al- 
terations. These wrinkles may also be caused by the 
shoulder seam of the back not having been slashed 
or from the finish of the seam being drawn too taut. 

WRINKLES EXTENDINPt DOWNWARD FROM 
THE FRONT SHOULDER LINE AND FRONT OF 
ARMHOLE are caused by the front not being 
stretched sufficiently, Avhen basted to the back, at 
the shoulder seam. Open the shoulder seam, i)in in 
position and when rebnsting use care to stretch the 
front to meet the back. Tf the front was stretched 
one-half inch at the first basting the alteration 
should not require more than another eighth or quar- 
ter inch. (See basting the shoulder seam, under 
"ITow to Baste.") Wrinkles around the armliole 
may also be caused from too much material at that 
curve. With tailors' chalk mark around the armhole 
a correct line for sewing in the sleeve. Then slasli 
around the edge of the armhole ciuwe, being careful 
not to cut through the mark for the serving in of the 
sleeve. Keep the armhole as small as possible, with- 
out binding. This necessitates having the lining 
high under the arm. The armhole is one of the most 
important parts of the lining, for more good or 
damage may be accomplished with it than with any 
other portion. Therefore, be unusually careful to 
keep the armhole small. A small well-fitted arm- 
hole permits of a sleeve that will give greater free- 
dom to the movements of the arm, for it is obvious 
that if the armhole is cut out too much, the .sleeve 
will dras; the waist when (he arm is raised. And 
besides, the higher the garment is fitted under the 
arm the longer waisted the person appears. ]\Iany 
people have an idea that a large armhole means 
comfort, but such is not the case. The garment 
should be a little higher (easier) at the back of the 
armhole than it is in the front, and keeping the 
armhole Ir'gh in the back will greatly assist you in 
fitting a sleeve that will permit the wearer to bend 
her arm and move foi'ward her elbow without an un- 
comfoi'table drag in the back where the sleeve .ioins 
the waist. When the arndiole gaps it is either be- 
caiise it was wrongly cut, or because it was not 



S. T. T.\>I.()Il SCHOOL AM) I'ATTEKX PAHLORS 



11 



properly stayi'tl with a tlirciid licFore .ioining the 
waist toKithcr. (Sec I'rcpariiiL;' llif Waisl T^iiiiii';- for 
Bastinn:). 'J'his will only occur throu-ili careless- 
ness, therefore should never occui- at all. But 
when it does, taking a small dart at the arnihole is 
all that can be done. If the individual being fitted 
has very sloping .slioulders. or is round sluuddered 
or stooped, do not atteiiq)! to fit tiie garment too 
closely around the armhole, l)ut rather leave it with 
ease, and build it out with jjaddiug. (See Ilow to 
Make and Apply Padding.) This will greatly im- 
prove the appearance of the shoulders, making them 
look less sloping, and the person with the round 
l)ack is made to look more erect. The same prin- 
ciple holds good in fitting the front of the garment. 
If the individual is liollow in front of the arm. in- 
stead of fitting the armhole closc^ly. leave it a I>it 
easy, and build it Ujv with padding. 

WRINKLES AROUND THE NECK CURVE. 1 1, 

they are canse<l by the shouldi'r seam of the front 
being taken in too much, open the shoulder seatn 
from the neck curve out toward armhole as far as 
necessary, fit and pin to proper ])ositi()n. These 
wrinkles may also be caused from the neck-curve 
being to liigh. To remedy this, with tailois' chalk, 
mark around the neck at the exact line Avhere the 
collar is to be sewed on. Then slash ai(Hmd the 
neck curve at intervals of on(>-half inch, using care 
not to slash through the chalk mark for collar. A 
wrinkle extending from neck curve at shoulder 
seam may be caused by the front of the shoulder 
seam not being sufTiciently stretched at this i)oint 
when basting to the back shoulder seam. AVhen this 
occurs, it will be necessary to ojjcn the seam as far 
as necessary and stretch a littl<> more wh(>n I'cbast- 
ing. The netdv curve must be well fitted before at- 
tempting to ad.iust or fit the collar. If wrinkles then 
form around the neck curve after the collar has been 
applii'd. they are caused by the collar being loo tight 
foi' the dress neck. Tf the collar is large entiugh at 
the top. then remove it from the waist and with the 
thumb and first finger stretch the lower edge of 
collar until it corresimnds with neck cui'vi>. (See 
Fitting Collar.) Tf the collar is loo small at the 
top. cut a new one. 

WAIST DRAWING TO ONE SIDE. 11 liie waist 
draws to one side it is bc<'ausc the centre back or 
sideform seams have not been .joined evenly. Ri]! 
the seam which is at fault and make sure that the 
waist lines meet and thai the basting is dii-ectly in 
the marking. 

BINDING ACROSS BUST. Siiould liie front of a 
waisl bind aci-iiss lli<> bust. i1 is because the bust 
measure was taken too tigiil. Tlie only iTincdy for 



this is to let out the undei'arm seam of the sid(^ 
front. Should nnich alteration be needed at this 
]ioint, by all nutans nmke a new draft for the front 
and cut a new lining front. 

FULLNESS BETWEEN TOP OF DART AND 
SHOULDER. Should the fronts of a garment show 
iuilinalion to be loose between the shoulder and the 
top of the dart, the measurement for the dart has 
been taicen too long. Remedy the difficult.y by open- 
ing the shoulder seam and drawing up the front to 
fit. This alteration must never be made without 
fir.st opening tlu' shoulder seam the full length. This 
alteration will usually necessitate a change in the 
armhole and neck curves. When much alteration is 
needed it is by far i)i-eferable to make a new draft 
and cut a new front. 

SHORT OR DRAWING FROM TOP OF DART 
TO SHOULDER. When the garment draws at this 
pai't, the iiicasui-ement for the dart has been taken 
too short. Open the shou.lder seam the full length 
and allow the front to drop to proper position. Tiun 
jiin the shoulder seam of the front to the shoulder 
sciim of the back. When much alteration is needed at 
this point, the result may be an arndiole and neck 
curve dropped too much. It will then he quite 
uec(>ssary to make a new draft for the front and cut 
a new front. 

After the waist has been fitted satisfactorily, take 
bits of curled hair and .slip under the lining in the 
hollow places and wheri>ver it is desirable to build 
up the figure. This will show to both the customer 
and the titter what result the padding will produce. 
\ow, mark with tailors' chalk, the exact size and 
shape the pads are to be made. This marking is to 
b(> used when cutting the pads. It will also be use- 
fid in locating the ])roj)er jdace and apjilying the 
])ads in the proper position after they have heen 
made. (See flow to ^Take and Apply Padding.) 

TO FIT A SLEEVE. After the waist has been 
pi-ojiei'ly fitted, before taking it of¥, slip the .sleeve 
on the arm, right side out. Sleeves require most 
careful fitting. Sleeves must fit as smoothly on the 
arm as the waist does on the figui-e. 

HANGING THE SLEEVE. Pin the front seam 

of the sleeve to the aiiiiliole at the diagonal marking 
which was placed there purjiosely for this guide. 
Pin from the front seam the underarm of the sleeve 
to the waist smooth up to the back notch. Pin from 
the front seam to the front notch, holding the sleeve 
a little easy. Draw up the gathers and arrange 
across the balance of the armhole so that the sleeve 
will fall perfectly smooth. If when fitting the 
slee\-e lining, the hand of the arm being litfed is laid 



li\STUUCT10i\ BOOK FOll SEWING AND FITTINC COURSE 



(111 the opposite slioulder and the elbow elevated to 
the level of the shoulder, a splendid position of the 
Jinn is obtained for the fitting, and comfort to the 
wearer is assured. AVith the arm in this position it 
will be noticed that great length is re<iuired in the 
hack from the elbow to the shoulder, and the lining 
sliould be so cut. ICven with sufficient length of 
sleeve to allow for the extreme position suggested, 
comfort will be impossible, unless the waist lining 
is cut high vmder the arm. Long, slight arms re- 
((uire sleeves that are almost straight. Stout or 
Heshy arms need sleeves that are more curved; that 
is, there is more bend to the sleeve at the elbow. 
If the sleeve has been correctly drafted, cut and 
joined together, there will not be any alterations to 
make. Turn the sleeve up at the hand the desired 
length. 

CORRECTING ERRORS IN SLEEVES, If the 

sleeve is too tight or too large, first ascertain if you 
used the measurements correctly at both elbow and 
wrist when making draft for sleeve. If not you can 
easily correct the draft and then make same cor- 
rections on sleeve. If you find the draft according 
to the measurements, then you have taken the meas- 
urements wrong, and the sleeve is to be altered at 
the back seam only. 

WRINKLES ACROSS TOP OF SLEEVE. When 

a pei'fectly cut ami made sleeve draws across the 
top after being adjusted, it is from not being placed 
correctly in the armhole. Take it out and pin to 
shape while the garment is en. Wrinkles wdl also 
be caused across the top of the sleeve by the round- 
ing of the top sleeve along the front edge being cut 
too short. If only of lining, it may po.ssibly lie 
|)i(M_MHl out, but otherwise a new sleeve must be cut. 

"*^'^here the sleeve is to be sewed into the arndiole 
high up on the shoulder, make the rounding of the 
sleeve quite large. For long shoulders, the sleeve 
rounding is cut very short. Do not attempt a jilain 
sleeve unless the garment is cut amply wide on the 
shoulders. 

SLEEVE TWISTED AT HAND. IT the inside 
seam at the hand twists fci the top, it is caused by 
improperly cut jiattern or carelessness in cutting 
and basting. This is a common occurrence and the 
most freciuent cause is the careless pinning togethei- 
of the sleeve before basting. (See Basting the Slee\c 
Lining Together.) The only remedy for a twisted 
sleeve is to open the back seam of the sleeve the 
full length, and let the underarm piece of the sleeve 
extend up into the armhole until the propi r aligu- 
ment is achieved. The easiest and best way U> make 
this alteration is to remove the sleeve from the waist. 



open the back seam of sleeve and rebaste according 
to instructions for the basting of sleeve lining. Then, 
j'ou will find, if the sleeve was cut from an S. T. 
Taylor pattern, there will be no twisting at the hand. 
This manner of basting will be a great assistance in 
rectifying a poorly cut pattern. 

FITTING THE COLLAR. Take the canvas col- 
lar which you ha\-e previously gotten in readiness. 
Pin the centre back of the collar to the centre back 
of the waist, keeping the line for the centre of the 
collar perfectly prependicular. Then firing both 
ends of the collar around to the centre front, or cen- 
tre back if to open in back, and hold them in posi- 
tion while you examine the fit of the collar. If it sets 
up to the neck, from bottom to top and does not 
cause any wrinkles around the neck-curve of the 
waist, then it is perfect and will not need any 
changes. Turn down the top edge the desired 
height and shape and you have a perfect pattern 
to cut the individual's collar from. 

COLLAR STANDING AWAY FROM NECK. 

When the collar sLauds away from the neck, either 
mid-way up, or at the top, is caused by the lower 
curve being too short. Tliis can be easily remedied 
by taking the bottom edge of the collar over the first 
finger of the right hand and with the thumb stretch 
until the collar sets up nicely to the neck. When the 
collar sets out at the top it will require to be 
stretched higher above the lower edge than when it 
sets out at midway only. The amount to stretch the 
lower edge will depend upon the .shape of the neck. 
A neck which is very full at the throat, or neck 
which is very sloping will require more stretching 
than the straight neck. Now pin the collar along 
the loAver edge to the waist. Pin the closing edges 
together and carefully mark both the closing edge 
and the line on the waist where the collar is to rest. 
If the waist forms wrinkles around the neck curve 
after the collar is in position (which w(>re not there 
before setting the collar), it is because the collar is 
too tight. 

It may be well to mention, that every dress slntuld 
have an individual canvas collar pattern fitted 1o it. 
]\[any dressmakers ti'y to use the .same shaped )ia1- 
tern on ditTerent dresses, and that is the beginning 
of many of their troubles with collars. After you 
have fitted a few collar patterns, according to the 
directions here given, you will take pleasure in fit- 
ting collars instead of regarding it with dread, and 
you will find the making and fitting of the pattern 
will not re(piire more than two minutes. The can- 
vas you have fitted is the pattern only, and to be 
used as such to cut the collar proper fiMiii, and is 
not to be used in the collar in anv manner. 



S. T. TAVLOli SCHOOL AM) I'ATTI:KN PARLOUS 



13 



FITTING THE SKIRT. Tlu' lining of the skirt 
must l)t' in rcailiai-ss Toi- the fii-st fitting. (Sec Bast- 
ing Siviit.) Slip the lining di- foundation skirt on. 
I'iu the centre front of the skirt to the centre front 
of the waist at their respective waistlines, keeping 
the marking for c<'ntre front of skirt (which extends 
from waist line to foot of skirt I, in perfect perpen- 
dicidar alignment. Then pin the c,n;re hack of ih. 
skirt to the centre back of the waist, raising or low- 
ering the waist line of the skirt as may he necessary 
to cause the skirt to fall in perfect alignment. .\ow 
take the palm of the hand and place it over the full- 
est part of the liii)s at the liij) line. i)ass it scraigli. ii.) 
over the curve of the hips to the waist line, and pin 
the skiit to the waist line at this point. You now 
have the correct division of the skirt at the lii]) line 
and the material which lies l)etween the centre front 
and the hip line is to he plact'd in the fir.-;! dnrt. 
That between the hip line and centi-e back, in the 
back dart. Pin the darts in position and shaju' ac- 
cor<ling to the individual figure. The average dis- 
tance of the front dart from the centre front of skiit 
at waist line is 4Vi; inches, at bottom of dart ij'/:; 
inches to the front edge of dart, length of dai't 8 
inches. When the abdomen is large the bottom of 
the dart sliould be one more inch toward th" front. 
The di.stance of the back dart from the centre back 
at the waist line is 4V1: inches and o inches at the 
bottom of dai't from l)ack edge of dart. These in- 
structions are for a circular skiit or one piece skirt. 
A gored skirt is to be fitted in the very sanu> man- 
ner, with the exception of taking in darts from the 
waist to hip line, this part is fitted at the seams of 
the gores. Pin the .skirt securely at the waist line 
and mark the desired length aiound bottom of skirt. 

WRINKLES ACROSS SKIRT AT FRONT OR AT 

BACK NEAR WAIST LINE ,ire .•:iusr;l either l,y tlle 

darts not having been taken up sufficiently or be- 
cause the skirt was held too taut when being ad- 
justed to the band. 

CAPS OR FULLNESS AT ENDS OF DARTS. 

This is caused liy too deep ;i dart iiaxiug liem talieii 
out for the figuri'. and uftcii times by too much sluji- 
ing at the top of the l);ick. <ii- the outsiile material 
being too loose against the liniuu-. 



SKIRT FALLING TOWARD FRONT. When a 
skirt falls to the front, giving an ugly flare at the 
siiles and a most unbecoming "skimpiness" or lack 
of fullness at the bottom of the back ; it makes the 
wearer look as if she were standing very badly, and 
the longer it is worn the worse it Avill look. It is 
caused by not cutting the side gore from the proper 
grain of the material. If the front edge of the side 
gore is cut on the straight of the goods, the side gore 
must naturally be bias at the back, with the result 
that the skirt will fall to the front. If the straight 
of the goods is put through the centre of the side 
gore, an improvement is at once noticeable. But, if 
the side gore is cut with its bai-k edge on the straight 
of the goods letting the front edge be the bias edge, 
the effect is almost nuigieal. The only remedj' for 
this fault will be to oi)en the seam which .joins the 
side and back together the full length of it, and raise 
the back edge of the side piece at the waist line until 
the skirt naturally falls in the gr;iceful iiiannei' 
which it should. 

POKE IN FRONT OF SKIRT AT BOTTOM. 
When a skirt stands out at the centre front at the 
bottom, the fault is the adjustment at the waist line. 
The waist line must be dropped in the front and 
I'aised in the back. When the abdomen is extremely 
large, it is then also advisable to hold the front gore 
a little full at the waist line, and likewise each side 
of the gore over the fullest part of tlle abdimien. The 
fullness thus held in should be retained by a thin 
tape, which may be sewn in with the seam, and the 
shaiiing tluTeliy is retained indefinitely. 

TOO TIGHT OR TOO LOOSE AT HIP LINE. A 

skirt which is loo tight or too loose at the lii|) line 
must necessarily be taken in or let out accordingly 
to its requirements. However, should the skirt re- 
(piire too much alteration at this line, it will be by 
far eas'iT and better in take apart and cut over. 

MARKING WAIST LINE OF SKIRT. Carefully 
mark with tailors' chalk, the true waist line of the 
skirt, which will be exactl.v over the waist line of 
the wai.st. Then after the skirt has been marked 
around the bottom for the correct length, the first 
fitting is comjileted. ]iemo\-e the garment, using 
care not to lose any of the markings which will be 
needed later. 



After the First Fitting 



Thead mark the chalk markings at the ne<-l< eurxf 
nnd armhole, also the markings for the ]iad(ling. as 
ivell as all mai'kings in both skirt and waist which 
mav become lost before needed for use. Xext make 



all alterations as indicated. Open the underarm and 
shoulder seams and turn to th(> inside using great 
eai'e to baste them again just as they were or if al- 
liM-atiiius have been made at these seams be careful 



14 



IXSTIUCTION HOOK 1-OK SKWIXC AM) I'lTTlNC COl 1{SI': 



to arrange tlu'in ac-cordiiigly. (IT you aiilioipato 
using the same jjattern at some I'uture time, it will 
be well to make the same eorreelioiis mi the pattern 



as you have in Ihe lining, wliieh will nhviate any 
fitting when making aiinlliei' liaiiiienl.) The linings 
are now readx- \i\ mai-hinc stitch. 



How to Stitch Linings 



First see that the stitch of the maehine is perfeet, 
and that tlie tentiou in the maehine is not too tight; 
with a medium stiteh (not too short), run the ma- 
ehine with an easy, steady motion (not too fast). 
Use silk in stitching in evei'y case. Stitch just out- 
side the basting when stitching the waist, to allow 
space for boning. Be careful to ke(4) the stitehings 
true, as any deviation will he ])erceptil)le at the see 
ond fitting, and will necessitate alterations. It is 
necessary to have all bastings true and even, that 
they may be used as a guide for perfect stitching. 
Never stitch on the basting line, nor across it. but 
just inside or outside of it as occasion may re(|uire. 

STITCHING WAIST SEAMS. St it eh cMit : e back 
from neck down. 

Stitch the seam nf the l)ack and side fdnii IVmii 
the top down. 

Stitch the curved seams (if the side liaek pditinu 
to the underaiin portion, keeping the side liaik next 
Ihe presser-foot. Stitching the one limn the lup 
down, the otln-r from the liollinii up. 

Stitch the front and side front seam Iroin the bot- 
tom up. 

Darts are stitched from the lioltoni up. terminat- 
ing them sharp at the toj). Threads nuisl he allowed 
at the top to permit fastening by knotting both ends 
or sewing them down. 



Shoulder seams are stitched from the neck curve 
to armhole, keei)ing front portion next to presser- 
foot. Keep shoulder seam taut while stitching. 

Stitch vinderann seam fioiii the lop down. 

For garments liaving theii' opening in the back, 
the centre front seam is stitched fi-oiii the top down. 

STITCHING SLEEVE SEAMS. Sleeves nuist be 
stitched \\\[\\ the lower or umler jiart kept on top 
luider the iiressei--foot . I'Mrsl stitch the inside seam 
and then the back seam, .\lwa.vs sew a sleeve to the 
garment with tin; sh^eve on top under the pressei-- 
foot, and stitch carefully, keeping a perfect seam. 
For stout figures a. narrow tape stilched around the 
armhole with the sleeve, will pre\eiit an.\- inclination 
of the waist splitting across the front. 

STITCHING SKIRT SEAMS. To stitdi skirt 
seams coiiuoeuce at the lioltoiii and stitch np. kei'|)- 
ing the bias side down next to the fei'd. Keep a 
straight seam, as any de\ialion will cause the skirt 
to hang unevenly. Lay a long rule from the bottom 
of the curve over the hips to the bottom of the skirt, 
along the seam to be stitched, i-un a fine chalk mark 
along the rule on the seam. This will ,i;i\-e an ac- 
curate and straight line as a guide for stitching. 
Make and finish the iininu' plaket. (See How to 
Make Plakets.) 



To Draw Out Bastings 



Kemove all bastings fi-om seams before pi-essing, 
being careful not to break any threails of the sewing. 
Tlie basting threads must be cut at in1cr\als and 



then iinllcd out. Do not jittempt to w it IuIimw tlh 
\\hob' threail at once, as there is danger i\\' ruinint 
the niatci-ial and often the shape lA' the garirie;it. 



Trimming Seam Edges 



After the bastings have been removed li-oin the 
seams, then all seam edges, with the exception ol' the 
underarm and shoidder seams, are to be trimmed off 
evenly, leaving them three-eighths of an inch wide 
from the seam. The si'am (d' d;irts are cut olV to the 



same width as other seams to within one inch IVom 
the \('ry point of the dart where an incision is made 
deep enough to be able to open out the seam. R(uind 
off the slashes of seams and the seams are ready for 
pressing. 



S. T. TAYLOR SCHOOL AND PATTERN PARLORS 



15 



Pressing 



Facilities for pressing have been given nuder 
"Workroom Necessities." Pressing is one of the 
most essential parts of dressmaking. Various ma- 
terials re(|uire a diiferent process of pressing. While, 
as a rnle the seams of a gai'ment should be pressed 
open with an iron, some fabrics, such as fine silks, 
erej)es, etc., do not permit of this. These are simi)ly 
creased open with tlie back of the thumb nail. 

Care -must be used in utilizing the correct tools 
when pressing the various parts. Always press 
straight seams over the straight pressing roll, and 
curved seams over a curved seam board, placing the 
seams over the seam board jjerfeetly smooth. Press 
slowly and carefull.y, bearing well on the iron, lift- 
ing the iron at short intervals to prevent stretching. 
and guiding the jtoint of the iron directly over the 
seam. If the iron is allowed to twist to one side or 
the other, a crooked seam will be the result, liy 
pressing evenly and as much as possible with the 
point of the iron on curved seams, will obviate such 
wrinkles a.s occa.sionall.y form underneath the out- 
side fabric, and when once in, it ■will be found very 
difficult, if not entirely impossible to remove them. 
All bastings must be removed and seam edges 
trimmed to proper width before pressing. "Where 
selvedge seams are to be pressed, they must first be 
slashed or clipped throughoiit, otherwise the.y will 
draw on the outside, no matter how much pressing 
is done. Cloth seams are to be dampened and pressctl 
with a heav.v iron, whereas lighter wei.ght matei-ials 
reouire irons not quite so heavy, and the matciial is 
not dampened. Do not have the iron too hot for 
silks or woolens. Colored textiles should always be 
tested b.v first using a small piece of the same to 
determine whether they will admit of pressing, as 
some faln-ics change in color as soon as the hot iron 
touches them, though in many cases the color re- 
turns. Should a seam become glossy on the right 
side after being pressed, sponge it off by the follow- 
ing process: Lay the garment on the pressing board 
with its right side uppei-most, place a wet sponging' 



cloth over the glossy part and set a hot iron down 
onto it, taking it oflf inunediately, or, in other words, 
thumping it. Give it a slight brushing to restore the 
naj) again. This applies to heavy goods. 

ARMHOLE SEAMS are to be opened and pressed, 

a lit til' at a timr, the same as all other seams. 

HEMS as a rule are pressed fiat. Lay the right 
side of the goods on a fiat pressing board covered 
smoothly (keeping the wrong side up), then place 
several tliicknesses of sponge cloth over the hem 
and press with a heavy iron until smooth. In thin- 
ner fabrics, such as silks, cashmeres, etc., the hem 
can be pressed b.v just laying a cloth or piece of 
])aper between the hem and iron. For wash goods 
the hem is pressed without the aid of the cloth and 
may be pi-essed on either right or ^n'ong side. 

VELVETS. SILKS, CREPES, ETC.. turn the iron 
witli bottom sicb' uji. Take hold of the end of the 
seam with the one hand and with the other guide 
and keep the seam open from underneath while 
drawing the seam back and forth across the edge 
or acro.ss the flat surface of the iron. In cither in- 
stance be very careful not to stretch the scams out 
of shape. 

STEAMING VELVET SEAMS OPEN, Turn the 
hot iron with the bottom side up. Cover its flat 
surface with a v>it clotli. Now pass the seam of the 
velvet over thi.s (keeping the right side up) in the 
same manner as directed above, having a second 
oiicrator constantly and carefully brushing the seam 
on top, with a brush as it slowly passes over the 
steaming cloth on the iron. Be very careful not to 
stretch the seam out of shape. 

RAISING CRUSHED AND RENEWING OLD 

VELVETS. Turn a broad surfaced hot iron with 

, bottom side up. Cover the surface with a wet cloth 

\ and place the velvet to be renewed on the steaming 

cloth with the pile up. Brush the pile briskly as the 

steam is passing up thi-ough it. 



How to Finish Seams 



SEAM BINDING. Finishing seams with silk 
scam binding makes the very i)rettiest finish to lie 
had. To do this neatl.y, crease the ribbon exactly 
through the centre. Slip the edge of the seam be- 
tween the edges of the ril)bon, and run the ribbon on 
with a fine running stitch, catching both edges of the 
riblion at one sewing and holding the ribbon a trifle 
full or easy. AVhcn ad.justing tlie binding around 



the corners of the slashes, pa.y particular attention 
that the binding is here pulled enough to permit of 
tile scam lying perfectly flat and even, for drawing 
the rilibon too tight at this point will not only cause 
thi> outside to pucker, but will ruin the fit of the 
dress. The binding of the darts may be run up on 
one side of the seam, then folded and sewed across 
the top to cover the raw edge, to be then adjusted 



16 



IXSTRLTTION HOOK VOR Si:WlX(; AND FITTINC COIRSI': 



to the opposite side. Use tine silk tlireatl the same 
shade in eolor as tiie seam binding, always working 
from the top or upper side of the seaTu. Tiie seam 
binding may l)e the same color as the mati'rial on 
which it is to be applied, or may be of some pleasing 
contrasting color. Foi' instance, scarlet, old gold, 
or green makes a beautil'iil touch of color when used 
as a finish on the inside of an all black dress. Light 
blue or pink are pretty for gray, scarlet foi- navy, 
geeu for brown, etc. Always bear in mind the bon- 
ing must match the seam finish in color. Seam 
l)inding is to be used on all seams and raw edges, 
which ravel with the exception of the armiiole. This 
is to be overcast. 

OVER-CASTING. For cloths and materials which 
do not fray ii\ i-r-casting may be emi)l()yed as a finish. 
Uver-cast the edge with buttonhole twist, or sewing 
silk, the seam.stress woi-king from the right to left 
with very close stitches, using care not to tlraw the 
thread so tight as to {-ause a jmckering or drawing 
of the seam, as that would cause the gaiiucut to be- 
come ill-fitting, ;is well as to s]i(iii the siiKidth effect 
of the finish. 

IMITATION STRAP FINISH, l.iueii and un 
lined silk coats may be ijeautifully finished by turn- 
ing the seams to the outside, where each raw edge is 
turned over under itself, forming a narrow strap- 
like trimming. When both edges of a seam have been 
thus ttirned and stitched, the seam appears to have 
been strap])ed and stitched three times. The inside 
of the coat is iiei-fectly free from bound seams or 
other finishing, and presents ffie ai)i)earance of a 
beautifully lined eoat. The bottom of the 
coat may be turned up and finished in the 
same manner. Where the coat is so treated, the 
skirt should be built in the same manner. When fin- 
ishing seams in this manner, tile work ]>resents a 
clean. ne,i( appearauee, which is to be nnicii ad- 
mired. 

LAPPED SEAMS, -loin \hv sections, nuiking an 
oi-dinaiy seam. Cut oil' the edge ol' the one side of 



the seam about half its depth and turn down the un- 
cut edge over the <-ut edge; then fold the two over 
flat on to the mateiial and stitcli or fell to position. 
All seams are tui-ned towaid the front. The lai)ped 
seam nuiy be used when finishing the long seams of 
underiiarnu'ufs or where :i Hat seam effect is ilesii'- 
al.le. 

FRENCH FELL SEAM. Join the sections to the 
right side, making an eighth of an inch wide seam 
outside of file regular se;ini. Cut off the edges closely 
to the seaming and turn the seams so that the right 
sides of the material will couu> together, and make 
another seam an eighth of an inch from the first 
seam, or, in other words, sew on the traced or seam- 
ing lines. This finish is ['dv uudei'gariuenfs only. 

SEAM FINISH FOR LACES, EMBROIDERIES, 
ETC. Seams of embroiileries, laces aixi sheer ma- 
terials are sewed together on the wrong side, cut 
down to one-eighth inch seam, then bound with 
sheer riblxin binding. ;dways holding the ril>bon a 
little easy so that the seam will not draw when 
finished. In some in.stances. one side of the binding 
can be stitched in with the seam, and then felled 
o\'er on tiie othei- side. 

CROSS STITCH FINISH, On long seams of 
heavy woolen materials wlii<-h will not fr;iy, the 
cross stitch applied directly along the edge of the 
seam makes a beautiful finish. 

PINKING is a finish which may be applied in a 
general way as a seam finish and is quite satisfactory, 
however, not nearly so elegant as ribbon binding, but 
it answeis nicely when time will not permit of the 
libbon binding. While if is not so beautiful, yet it 
has one advantage, that is. in giving ample si)ring to 
the seams. There will be no rislc that the seams will 
be drawn along the edges, a defect which is quite 
liable to happen when a ribbon finish is carelessly 
applied. Pinking also nuikes a splendid finish for 
the edges of facings, etc. when it is desirable to ap- 
ply them fiat and smooth, and when* a tiirned-in 
(>dge W(nild be bulky, or ol liei'wise undei'sirable. 



How to Bone Waists 



One of the most im|)orlaiit details in dressmaking 
is the boning of a waist. Heal whalebone is always 
preferable for boning. When whaletxuie can not l)e 
had. then W;ii-ren Fcatherbone rald<s next in prefer- 
ence. 

BONING WITH WHALEBONE. I'lac ihc bone 
in warm water, to wliieh has been added a wee lump 
of tallow or paralline. Do not use the water loo hot. 



as that makes the bone britth'. I5y adding tallow (U" 
paraffiue the .service of the bom- will be nnu'li longvr. 
Allow bone to remain in water about 1') miiuit<'s. 
when if will b(> found to be pliable and sol't .•nid 
easily cut and sewed through, wilhoiil injury to the 
bone. Remove the boiU' from the water, wipe dry, 
and measure off and cut into correct lengths for the 
various seams to be boned. The exact length to cut 
the bones will be found undcT "To .\ppl\- I'.oue ('as- 



S. T. TAYLOR SCHOOL AND PATTERN PARLORS 



17 



ings." Rouud the ends and scrape them quite thin, 
and again phu-e them in the warm water until -want- 
ed for use. 

Seams must be pressed and liiiished liefi)re the hone 
casings are applied. 

Bone casings must mateh the color of the seam 
finish as near as possible. 

TO APPLY BONE CASINGS. Apply bone cas- 
ings, a little full, with small running stitches both 
sides of the seam, keeping the centre of the casing 
directly over centre of. the seam. Should the centre 
of easing not be kept over the centre of seam, it will 
cause the seam to twist after the bone has been ap- 
plied. An extention of one and one-half inches is 
allowed at each upper end of casing to permit of 
lapping over as a finish. The lower cud is fastened 
across the seam. 

Start all casings at one-half inch from the bottom 
of the skirt part of the wai.st leaving them run to 
one inch from the very point of the dart; two and 
one-half inches from the armhole in underarm seam. 
On centre back seam, at half way between neck 
curve and waist line. Three inches on curved side 
back seam above waist line, unless a curved bone is 
used, then extend as high as bone in centre' back 
seam. Three inches also applies to side back seams. 
If the distance measures more than three inches 
from the last dart to the underarm seam, then apply 
a bone in the centre of this space, letting it slant 
back a little above the waist line and make it from 
four to five inches above the waist line. Make a 
mark on the front seam opposite one inch below the 
top of the dart and allow the casing to extend to 
this mai-k. On the foregoing seams, all casings are 
to be started at one-half inch from the bottom of 
the skii-t of the .waist. In long waisted garments 
tlu^ bones should extend from three to six inches 
below the waist line according to the style of gar- 
ment. Onlj' whale lione can be used for this pur- 
pose. 

Remove the bones from the water, one at a time 
as needed (as they will remain soft enough to sew 
through for only a short time after removing from 
water), carefully wipe dry removing: ail tallow or 
paraffine which may adhere to them. Slip the bones 
from the top down in their respective casings and 
fasten at the bottom by sewing through the bone 
and casing, and again at one inch below waist line. 
Spring (force), them and fasten at waist line by 
sewing through the bone and casing. Sjtring again 
and fasten at one and one-half inches above the 
wai-st line and at equal distances aliove this at in- 
tervals of about one and one-half inches making the 
last fastening at three-fourths of an inch below the 
top of the bone, this being finished by turning the 



one and one-half inch extension end of the casing 
over the three-fourths inch free end of tlie bone and 
sewing right through them. The object of leaving 
this end loose is to prevent the bulging forward 
often seen on waists where bones terminate. 

SPRINGING BONES IN CASINGS. "Spring 
ing" is simply stretching the goods so there is more 
bone length than seam length. This curves the 
waist toward the figure; therefore the amount of 
spring required depends upon the amount of curve 
to the figure. Then again, the curved seams over 
the hips recpiire more spring and a greater distance 
of spi-ing than do the straight seams of tlie front 
and back. Let the greater amount of the spring of 
tiie seam be at the waist line within the space of one 
and one-half inches above and one and one-half 
inches below it. Do not spring between the two last 
fastenings at either end, simply hold taut. 

Low- cut evening bodices, quite frequently have 
bones inserted from top to bottom in back. In those 
closing with lacing this is absolutely necessary. Nar- 
row bones are best for closing edges which are to 
lace together. When a whalebone has been properly 
lu-cpared in warm water it is easily cut through and 
can lie slit to any desii-al)le width. 

BONING TUB DRESSES. In wash dresses cas- 
ings are applied the same as in other garments, the 
only difference being that they are finished at the 
top separately from the bone to permit of the latter 
being easily removed when desiring to have the gar- 
ment laundered. 

BONING GIRDLES AND BELTS. All belts and 
girdles are to be boned as carefully and thoroughly 
as waists. The same rules which control tlie boning 
of waists are to be complied with and carefully fol- 
lowed when constructing belts and girdles, even 
though they do not measui-e more than an inch in 
width. 

FEATHER BONING. Cut feather bone one and 
one-fourth inches longer for each seam than directed 
for whalebone. (See Boning with Whalebone.) Rip 
the centre row of stitching out of the feather bone 
one-half inch at the bottom end, and three-fourths 
inch at the top end. Slip the casing back at each 
end as far as ripped and cut the bone off. rounding 
the corners ; then tui-n the easing loosely over end 
of bone and tack to place on wrong side of bone. 
Spring the bone on to the seam the same as directed 
under w^haleboniug and pin to position that the 
greater amount of the spring will be at the waist 
line. The bone is then to be cross stitched to the 
seam, each end being finished with a large X. But- 
tonhole twist or floss is to be used for this purpose. 
To feather stitch the surface of the casing and then 



18 



l.NSTliLCTlON BOOK FOli SI]WlN(i AM) F1TTIN(; COUKSE 



apply to seam with loii<r back stitch aloiif? each 
edge of hone, makes an elegant finisli. The same in- 
strnetions apply to feather hone as to whalebone in 
i-egard to keeping the centre of the bone over the 



c-cnti'i' 111' I hi' si-am. as wrll as I'astening the bone to 
Ihc sram (lire<-tly at llic botldiii, and aUowing three- 
fourtiis of an inch to iMMiiain hiosc at tlic top above 
the fastening. 



Making and Applying Padding 



IMace that portion of llie lining wiiirii has been 
marked for paiitling. onto canvas keeping the 
thread of the lining on the same thread of canvas. 
Trace aronnd the marking; this, will leave traced on 
the canvas the exact size and shape the pad is lo 
be. Cnt the canvas out, and witli running stitch 
apply seam l)iniling flat around the edge, holding 
the binding a little full. 

If only a slight building uj) is reipiired. the can- 
vas will in itself be sufficient. Some figures are 
finite hollow .just in front of the arms eye, back of 
the shoulder, through the bust, chest, etc. In such 
cases, arrange a small quantity of best curled hair 
on the side of the eiuivas which is to face the lining 
when ai)i)lied: tack the hair to the canvas with a 
long loose stitch across the hair, catching a short 
stitch into tile canvas. Di-aw tlie hair out so it 
will be thill at the edges and the pad is ready to 
adjust on the lining. 

The curled hair used for making ]iads is the same 
as used by ftirniture nitholstercrs. 

Pads are to be sewed onto the lining so that they 
rest Ix'tween the lining and the outside i)art of the 
garment. Pin the pads to position, arranging them 
exactly where the markings indicate. Then sew 
them securely to the lining at every inch at the 
edge of the seam l)in<ling only ; this can be done 



eillier with a plain fastening stiteli, or with a small 
star stitch. In either instance, the thread used iiuist 
be silk- and the same color as the lining. 

SKIRT PADS. Skirt pads are made by ti'aeing 
the shape as marked on the skirt lining, when lilting, 
onto a j)iece of the lining material. A skirt i>ad 
nuist have an under and an upper section. The un- 
der section is to fit smoothly and is to be cut froiu 
the piece traced from the skirt lining; the upper 
section is to be cut one-half inch wider at the waist 
line than the under section. Tlie two sections are 
to ])e seamed together on the wrong side, around the 
edges, leaving it open at the waist line. Ari-ange 
curled hair on the under section, as re(|uired, keep- 
ing it thin at the edges, and tack hair to the under 
section only, with long loose stitch o\-ei- the litir, 
catching a short stitch into the material. Turn tin' 
pad rightside out and liiiish li.\' making an inverted 
])leat, as deej) as the exti'ii fullness will adnut, at 
the centre of the Widst line of tlie upper section. 
Tu)'n in the edges at the waist line, baste, and stitch 
close to the edge. The skirt pad is to be attached 
to the waist band of the skirt. 

Very thin arms may be iinpro\c(l by a layer of 
wadding between thi' elbow and slioulder, when 
close-fitting sleeves are woi'n. 



Finishing Lining Skirt 



:\lake and finish the placket. (See How to ]\lake 
Pla(d<ets. 1 Trim off the bottmn at one-half inch bil- 
low the nuirking for the length of the skirt. Turn 
the bottom of the skirt up to the nndei' side at the 
marking, and l)aste at tiiree-sixtecnths of an incdi 
above the tnriung, commencing at centre front and 
basting to centre back on each side, with stitches 
not nn)re than one-half inch in length. With even, 
fine stitches I'nn a gathering tln-ead on tin' waist line 
from the centre front to tiie centre baidc of skirt, 
and another gathering at one-eighth inch above. 
Now arrange the lining skirt at the waist line on a 
l)an<l of Prussian binding nu'asnring one-half inch in 
width, the length to ])e govei'Ued aceoi'ding to the 
size of the waist, allowing fuie-hair inili at one end 
for turning in wlien ninshing, and enough at tlie 



othiM' (>ml to cross the shield of the placket ami an 
extra one-half inch for tur-iung in when finishing 
end. This waist band is to be att;H-iied on the under 
side of the liinng skirt, so as not to intei-fei-e with 
the adjustment of the outi-r skirt. Tin the waist 
band at the centre front, tlieu ,it the eciiti'e back 
and draw u\) the gathering threads so as to case the 
skirt at the waist line to the band. It is not to be 
understood that the skir't is to be gathcTed, it is oidy 
to be eased and should there be enough fullness to 
form gathers, the dai-fs are to be taken in more. By 
easing the skii't to tln' band will obviate any rolling 
or pushing up of the skii't at the waist line. Com- 
mence ItMsting tiu' band at the centre front and baste 
I'l-oni there, on each side, to the centre ba(d<, with 
close even stitches. 



S. T. TAYLOR SCHOOL AND PATTERN PARLORS 

Making and Adjusting the Outer Portion 
of the Garment to the Lining 



Now that .your lining's iu\' all finislicil aud perfect 
in every respect, the making of the outside aod fit- 
ting it over tliem will be very simple and easy. If 
any deeided alterations have been made in the lin- 
ings, the same changes must be made on the outer 
parts. For instance : If you made any change in 
the waist line of the skirt when fitting the 'ining, 
make the same change on the pattern for the outside 
poi tiou of skirt before cutting it. Whatever change 
has been made at the bottom of skirt lining when 
fitting, make same change on pattern for outer sec- 
tion befoie cutting. The same method is to be em- 
ployed with waists and sleeves. This will afford a 
great saving in material and will obviate the possi- 
bility of any mistake in regard to cutting. 

The remaining steps for putting together the other 
portions of waists, sleeves and skirts involve little 
that is different and nothing that is more difficult 
than the instructions given in putting the linings to- 
gi'ther. All seams in outin- ])oi'tions are to be held, 
stretched, basted, and stitched in exactly the same 
manner, as were their corresponding seams of the 
lining. Seams are to be pressed and finished in a 
like manner as were the linings. The making of 
tucks, plaits, folds, pipings, hems, shirrings, etc., 
will be found under their respective headings. 

ilake the outer portion of the waist complete (with 
the exception of sewing in sleeve and attaching col- 
lar), and slip it over the lining, basting it correctly 
to position round the neck and armhole and at the 
underarm seams. Mai'k where it is desired to have 
the waist line of tlie outer portion meet the waist 



line of the lining at the centre back, centre front and 
underarm seams, then gather between these points 
so that the line of gathering will coincide with the 
waist line of the lining; run another gathering at 
one-eighth inch above, draAv up the gathering 
threads evenly together by drawing both at one time, 
adjn.st the fullness to proper position and baste out- 
side to lining at waist line. 

Make the outer sleeve and drape and fit to the 
lining sleeve. Then with short even stitches, baste 
into the armhole at the markings made at the first 
fitting. Do not stitch the sleeve in tight until after 
the second fitting. For making and hanging a fancy 
sleeve without a lining, follow same instructions as 
for lining sleeve. Turn the sleeve up to the inside 
at tile bottom. At the marking on the lining for the 
length of sleeve, trim oft' allowing one-half inch edge 
above the turning and baste at three-sixteenths of an 
inch above the turning. 

I\Iake the collar (See How to Make Collars.), and 
carefully baste to position as indicated by the mark- 
ings on tlie lining. Do not sew the collar on tight 
until after the second fitting. 

IMake the outer skirt, adjust it over the lining 
skirt by attaching them together with short basting 
stitch at the waist line only. Now baste at the waist 
line on the outside a band of Prussian binding, the 
same as on the under side, turn in ends of band and 
sew on hooks and eyes temporarily. Do not stitch 
the band on tight until after the second fitting, so 
that if any small change may be needed, it can be 
readily done. The garment is now ready for the 
second fitting. 



Second Fitting 



If, at the second fitting any defects are to be ob- 
served, for their causes and remedies, refer to "IIow 
to Do Fitting." Do not fail to inspect the bottom 
of the skirt the verv last thing before removing the 



garment, to make sure it is the correct length all the 
way round. Also the bottom of the sleeves to make 
sure each sleeve is tui-ned up at the exact length it 
is desired to have them when finished. 



After the Second Fitting 



If any changes are necessary, make them. Then 
blind the collar to the waist. Next, sew the sleeves 
in tight, preferably by close back stiteh. However, 
they may be stitched to the waist by machine. Al- 



ways sew in a sleeve with the sleeve on top, or if 
stitched in keep the sleeve next the presser-foot, 
stiteh carefully, keeping a perfect seam. Trim the 
outside material off at tlie waist line. That is, if the 



20 



IXSTIUCTIOX liOOK I'OK SIIWI.NG AM) I'lTTl.Ni; COIKSI': 



waist line is lo 1ii> the bottom of tlic waist. The 
waist liniufj shoiiltl extend at least five inelies below 
the waist line underneath the skirt. Baste and sew 
a stay tape one-fourth iiieh wide around the waist 
at the waist line as a substantial finish, lettinj; it 
extend just low enough to eover tlie raw edfje of the 
outside. Trim the turned edge at the bottom of the 
sleeve to within three-eights ineh from tlu' liiriiiiig 
and finish with a bias faeing; the faeing nuist meas- 
ure fully as nnieh in leugth as the sleeve is wide. 
The width of the faeing will depend upon the style 
of the sleeve. 

Remove the hooks and eyes whicli were only tem- 
porarily sewn on the band of the skirt, and stitch 
the baud to the skirt by stiteliing along both tlu; 
upper and lower edges and by eommeneing in the 
eentrc front and stiteliing to centre back at both 
sides. Trim the turned edge of the bottom of the 
skirt to within one-fourth inch of the turning. Cut 
either a shaped facing, or a faeing on the true l)ias, 
making it from two to three and one-half inches wide, 
as occasion may require. Turn in and liaste one- 
fonrth ineh at the lower edge of the faeing, i)inking 
the upper edge as a finish. Then ])aste the facing 
smoothly against the inside of the bottom of the 
skirt, allowing tin- skirt to project one-sixteenth indi 
below the facing; shape the upper edge of the faeing 
by stretching it so it will lay Hat and smootli on tlie 
skirt. If the facing used is a shaped fac'.ng it will 
not require any shaping oi' stretcliing. The facing 
of the .skirt may be stitched or blinded at botii edges, 
the style of the skirt to determine this. The facing 
for a silk or light weight skirt should be of fine 



elntli wliirh will iict MS a sdl'l. clinging weight to 
h'lid the slurt down aiui in aligniiLenl ; silk or satin 
is to be used as a facing on heavy skirts. Carefully 
jire.ss the bottom of the skii-t (See Pressing), and 
then finish with three-fourths inch wide silk tailors' 
braid ; first baste the braid smoothly along the lower 
edge, allowing it to project one-sixteenth inch below 
the bottom of the skirt. Conunence basting the braid 
at the centre front and baste to centre back at each 
side ; then baste the ujiper edge of the braid down 
smoothly, again commencing at centre front. Fell 
the braid along the upper edge to the facing only, 
using care not to catch the stitches thi'ough into the 
outside matei-ial. The lining or foundation skirt is 
to be finished at the bottom in the same manner. 
The joinings of bindings, as well as those of facings, 
must be neatly finished, lender no circumstances 
should such ends be lapped. Seam and press them 
well so they will not be visible. Always seek to 
join on the slant where material is bias. 

BELT INSIDE OF WAIST. Inside the waist al- 
ways sew a belt. It should be three inches longer 
than the regular waist measure. Turn under each 
end of the belt one and one-half inches and sew a 
hook on the right end and an eye on the left. Turn 
under the raw ends of the belt and hem them down 
over the ends of the hook and eye. Mark the centre 
of the belt and sew^ it to the centre back seam of the 
liniug with a large X stitch, keeping the lower edge 
of the belt one-fourth inch aboA'e the waist line. If 
the waist opens in the front, then sew the belt to 
the centre front seam of the waist, keeping the lower 
edge of the belt one-half inch above the waist line. 



To Make Plackets 



The making and finisiiing of the placket will gi-eat- 
l.v depend upon the style opening which the placket 
is to occu])y. The first consideration will lie to ar- 
range for the ])laidvet oi)ening where it will be the 
least visible: this will depend u|)on the style of the 
garment. The right .side of the placket most always 
lajis to tile left. If yon ha\-e followed iiistruetioiis 
in putting the skirt together, iiotii sides of the 
jtlacket opening have a stay tape along the seam to 
protect thein fi-oin stretcliing, -which is one of tlic 
secrets (if a true si-tting placket. 

MAKING A PLAIN PLACKET AT SEAM OPEN- 
ING. Tnrn and baste the riuJit siile i.f plackd <,\vu- 
ing nndci- at the marking Ini- tiie seam and press. 
Trim the edge <lown to within i {. inch from turning. 
Ovi-r the surface of this I)aste ribbon seam binding 
flat, kee])ing it back one-sixteenth inch from the 



edge of turning, tiie other edgi' of binding to extend 
over and cover the raw edge of the turning; stitch 
along both edges, and press. Start at the waist line 
and mark at everv one and one-half inidies on the 
under side of the right opening, and sew suction but- 
tons at the marks, k(>e]iing them one-eighth ineh 
back from the edge, using care not to catch the 
stitches through to the outside material. For the 
left side cut an extension or shield from the straight 
of the same material as the outer skirt is made of, 
making it one and one-half inches longer tiian the 
pla<-ket ojiening and two and three-fourths inches 
wide. Baste the shield to the left side of the open- 
ing, l)y ])lacing the right side of the goods of the 
shield to the right side of the goods of the skirt and 
liasfing together along the marking for the seam. 
Stitch the seam, reiiioxc the basting, trim the seam 
edge to within iine-liall' inch rnmi stitching: tui'ii the 



S. T. TAYLOR SCHOOL AND PATTERN PARLORS 



21 



seam towai-d the shield aiul jiress firmly. Baste rib- 
bon binding flat across the surface of the seam, by 
keeping one edge along the stitching and the other 
edge to extend over and cover the raw edge of the 
seam. Stitch both edges of the ribbon binding, and 
press. Starting at tlie waist line mark on the out- 
side of the shield, between tlie stitchings. at every 
one and one-half inches and sew suction buttons at 
the marks, keeping the edges of the suction buttons 
one-eighth inch back from the edge of the seam. 
Fasten at the waist line with Xo. 2 hooks and eyes. 
Also sew a hook on the end of the band of the shield 
and an eye to correspond on the waist band of the 
skirt to hold the end of the {)lacket in position at 
the waist line. If this work is perfectly done the 
placket opening will always set smooth and perfect 
in every respect. Sew a No. 2 hook, perpendicular, 
on the underside of the waist band of the skirt at the 
centre back, and a corresponding eye, loop down- 
ward, on the outside of the waist band of tlu^ waist 
at the centre back. "When putting the garment on, 
hook the skirt to the waist at this point and the skirt 
will always be neat and in proper position at the 
waist line in the back. When the individual is ex- 
ceedingly broad, then three hooks and eyes are to 
be applied in the same manner as the foregoing, sew- 
ing one at the centre back and one at each side at 
one and one-half inches from the centre back. 

PLACKET IN PLAIN HABIT BACK TO FAST- 
EN WITH HOOKS AND COVERED RINGS. Wh.iv 
a skirt has a plain haliit hack and tiicrc is no trim- 
ming over any of the scams to cover a placket, it 
may be at any preferred seam, but the back one is 
the best. If done properly there is no occasion for 
it to l)e visible, and the addpd thickness, which is un- 
avoidable, is more easily disposed of at that seam, 
]\lake as follows: First, when stitching the seam 
stop short of the placket opening, but continue the 
tacking to the top and press the whole of the seam 
open. Next, remove the placket, threads ; lay a strip 
of fine canvas under each edge and turn them back. 
Then stitch them down from the right side and mitre 
tlie stitching at the lower corner. Sew hooks (that 
will not unfasten themselves) and rings alternately 
and closely under each edge, so that when fastened 
the edges meet perfectly. To make the inside neat, 
hem an inch wide strip of material under one edge, 



and a three-inch-wide one under the other. Turn the 
latter, after hemming it along the placket edge, back 
an inch from the seam ; hem it by the fold, and the 
turned-baek part will form a fly or shield to underlie 
the opening. The fly may need lining with silk, but 
if sufficiently firm the edge merely requires binding. 
The placket should be pressed when stitched and 
again when finished. 

PLACKET UNDER INVERTED PLAIT, Where 
skirts have inverted plaits at the iiack. the placket is 
cut at the iinderfold of the right plait, this being 
bound with ribbon seam binding. The waist liand 
finishes at the end of this top plait, to then close 
with a hook and eye over to the centre back, another 
eye having been sewn to the end of the left under 
belt to fasten with hooks sewed correspondingly to 
the inside right top belt. When the placket is made 
in this manner, there will be no fear of the placket 
opening being visible at any time. 

PLACKET UNDER BOX PLAIT. Where a skirt 
lias a box jihiit at the Ijaek. the placket is made at the 
centre of the liack at the fold of the plait, the plait 
concealing the opening by being fastened to the left 
side and hooking over to the right, it being under- 
stood that the skirt was previously hooked at the 
centre back. 

PLACKETS UNDER PLAITED DRAPERIES, 

ETC. Skirts having plaited draperies have the 
lihicket opening of the foundation skirt at the middle 
of the back and that of the drapery at one of the un- 
der folds of the plaits. Both openings should be 
faced or hemmed, each separately, and then pressed. 
Extra allowance nnist be made in the belt to permit 
of the plait being in proper position when closed. 

PLACKET IN GATHERED SKIRTS. If the gath- 
ers ai-e full enough the placket opening may be made 
in the centre back. If the gathers are scant, then 
the placket is to be made at one side under a seam. 

PLACKET IN ONE PIECE DRESSES. The most 

satisfaetiii-y ]ihiee for )ilaeket ii]ieir!ng in the one 
jiiece dress is at the centre Inu-k. 

LENGTH OF PLACKET OPENING. This will de- 
pend upon tiie size of the individual, varying from 9 
to 14 inches in length. 



Finishing Darts in Skirt 



Darts must l)e well tajiercd off. Nothing looks 
worse than a puft'y ending to a dart : it is a sure sign 
of bad workmanship. The edges should be cut down 
as far as possible, less wide than those of the seams, 
and the part toward the jioiut tliat cannot be cut 



shoidd be carefully laid into a tiny box plait, and as 
carefully pressed ; then if necessary, a little shrink- 
ing of the material round the point will make it as 
smooth as desired. Dart seams, to be correct, should 
be almost invisil)le. 



22 



INSTRUCTION BOOK FOR Si:\VIX(; AND IMTTiXC COUUSF. 



How to Make Collars 



Take the t'iinvas oollai' pattern wliicli was iiiailc at 
the first tittiiijr and lay upon iMousscliiu' dc Soic or 
ChitVon cloth, placing it on the true bias. Carefully 
mark the Jlousseline all aroimd the edge of the can- 
vas, also the centre front and centre back of collar 
from l)ottoni to top. Cut out the collar three-eighths 
inch outside the markings. This .Mousseline section 
of the collar is to be used as an inteilining and sup- 
port for the honing or stays. Now turn in to the 
wrong side and baste the upper and lo\v(>r edge of 
the collar at the marking. Run along both upper 
and lower edge of collar with fine, even running 
stitch, keeping one-eighth inch from the edge. So;dv- 
whalebone (See How to Bone Wai.sts ), and when 
soft and pliable cut lengthwise into strips one-six- 
teenth inch wide. Slip into the one-eighth inch cas- 
ing formed by the running stitch on both upper and 
lower edge of the collar. Cut the wliale bone off at 
the proper length, and fasten securely at each end. 
Sew one-eighth inch wide ribbon from the to]) to the 
bottom at the centre back. IMeasure the sjiace Iroin 
centre back to centre front at both top and iiottom 
edges of collar, and divide it into three e(|ual parts. 
autl sew an eighth inch wide ribbon bone casing at 
each third from top to bottom edges of collar. The 
centre front is not to be boned. Cut the hones the 
proper height for the collar, from tlie one-sixteenth 
inch wide whalebone, slip them into their respective 
casings and fasten them securely at top and bottom, 
and at twice between. All parts of the foundation 
nnist he the same color as the outer section. Now 
apply the outside section of the collar onto the 
l)oned foundation, either plain or draped as desired. 
Turn all the edges in over the boned foundation, 
slash so they will lie flat against the boned founda- 
tion and l)aste thoroughly to position, always com- 
mencing at centre front and basting to centi'e back. 
Cut a facing the size of the collar from the true bias 
of the same material as the foundation, baste to the 
inside of collar and turn in the edges so they will 
come to within one-eighth inch from the edges ol 
collar and fell to position. Collars which oi)en in 
the back, every part of their eon.struction must be 
executed by commencing at centre front and bast- 
ing or sewing to centre back on each side. Should 
the collar be made by sewing from one end to the 
other of it, the result will be a collar which twists 
and will not fit the neck the same at each side. 
When the collar is to open in the front, then every 
part must be put together by working from centi'c 
back to centre front. The same rule a])plies to any 



and all styles of collais, as well as to the setting of 
a collar. 

Baste the collar to the neck curve of the waist at 
the marking which was made at the lir.st fitting, 
commencing at the centre of the collar to baste each 
side. After the last lifting, the collar is to be slijjped 
stitched to position, and the neck curve of the waist 
trimmed to within one-fourth inch of the slipstitch- 
ing. Slash the neck curve to within one-eighth inch 
of the slip stitching, at ever one-half inch. The neck 
curve is then to be finished by applying ribbon bind- 
ing, holding it easy and flat, sewing only at the 
lower edge (which is to be jilaeed at the slip stitch- 
ing), and attaching upper edge to iirependieulau 
bone casings only. 

TUB DRESSES AND STOCKS. With tub dresses 
or with stocks the bones are to i)e slipped rroni their 
casings before laundering same. 

SHIRT WAIST COLLAR BANDS. These bands 
ai'e interlined with one or two thicknesses of butch- 
ers' linen canvas, instead of using i)one stays. Foun- 
dation and material are all cut one size, i. e., one- 
fourth of an inch larger all around than the collar is 
to be when completed. With the machine stitch 
both inter-linings together several times through the 
centre ; baste on the outside section, and then the 
inside, with the right side of the frabric facing the 
outside of the collar. Stitch all together along the 
top and sides, taking a one-foui'th inch seam and 
leaxing the lower edge open. Trim the corners otf 
lounding, and turn right side out. If the coruers do 
not come out ]ierfectly. push them out with soiiu> 
dull instrunu'Ut. Ihning the collar turned right side 
out. now baste along th<' etlge to keep in position. At 
the lower edge tui'n to the inside the outer material 
and the interlining one-fourth inch and baste. Now 
tui'U up the i'dffi' of the lining letting it come be- 
tween the lining and the interlining, making the 
turning one-fourth inch deep and baste. Baste the 
lower edge of the outer section and infer-lining to 
the ne(d< curve of the gai'uu'Ut. holding the neck 
curve of the garment (piile taut to the collar. Stitch 
to position, and fell down the lining section to cover 
the .stitching. A row of nuu-hine stitching about one- 
eighth of an inch from the edge around tlii> collar 
will greatly improve its ,'i|ii)earance. 

SAILOR COLLARS. In .-utting the cloth, be sure 
to allow foi- seams. Line and make the collar, and 
linish the edges complete, except th(> one that sews 
to the garment. Where a collar is to be edged with 



S. T. TAYLOK SCHOOL AND PATTERN PARLORS 



23 



lace or embroidery, it is cut tlie width of the trim- 
ming smaUer than it is to be when finished, of course, 
not forgetting to allow for seamx. The edge of the 
'rimming is usually placed between the turned-in 
edges of the outside and lining sections. The edges 
are then finished either by slip stitching, or liy 
machine stitching with one, two or more rows of 
stitching. Then baste the neck curve of the collar 
and the neck curve of the waist together, holding 
the collar slightl.y full around the neck. Take a bias 
strip one and one-half inches wide and lay it on tlie 
right side, so the inside edge can be stitched in 



when the collar is stitched to the garment. Stitch 
all three together, following the line of the neck. 
Turn the seam and the bias strip to the inside of the 
f'.arment, and hem the bias strip down over the seam 
as a facing. 

CUT ON TRUE BIAS, All sections of collars are 
to lie cut on a bias, as far as possible. However, in 
many instances this can not be done, especially in 
regard to the outer section of the collar, as much of 
I he beauty of the design of the material would l)e 
lost. 



How to Make Folds 



Folds are always to l)e ciit on the true bias of the 
material, for, when cut from other than the true bias 
a perfect fold can not be made, as ripples are sure to 
form across it. Work very lightly and do not handle 
the fold more than is absolutely necessary. L^se 
great care not to stretch the edges of the fold. Never 
make straight joinings in folds, always make all 
joinings on the l)ias. This applies to end joinings as 
well, which are to l)e seanunl and pressed in the same 
manner as the other joinings. Under no circum- 
stances should folds be lapped where both ends meet, 
unless it is to form a part of the trimming. 

PLAIN FOLDS OF VELVET, SILK. ETC. To 

make a plain fold of velvet, silk, dr., cut tliin crino- 
line on the true bias the width the fold is to be when 
finished. Cut the edges perfectly even, for any little 
defect will positively show when the fold is com- 
pleted. Now cut out the material, from true bias, 
one inch wider than the crinoline and baste the 
crinoline on the goods, keeping it exactly in the 
centre, leaving the fabric extend equal distances on 
both sides. The edges of the material are then 
turned over the crinoline and carefully basted. The 
edges of the material are then to be cat-stitched to 
the crinoline, using care not to catch through to the 
right side, A la.yer of cotton wadding placed lietween 
the outer material and the crinoline will sonu'times 
improve the outside appearance and give a pleasing- 
effect. In instances where there is risk of the under- 
side of the fold showing it is necessary to face the 
fold with some thin material, such as silk, satin, etc., 
this entirely depending on where the fold is to be 
placed, and the manner in whii-h it is to be applied. 
Folds to be adju.sted with macliine stitching ivquirc 
no lining, 

NARROW FOLDS, F,.r a very narrow fohl, the 
material is cut wide enough to lap over on the 
under side. 



FOLDS WITH ONE OVERLAPPING THE OTH- 
ER, To make folds with one overlapjiing the other, 
eut strips of the material on the true bias, making 
them double the width the fold is to be, with one 
additional inch to allow for sewing or lapping. Thus, 
if the fold is to show one-half inch when completed, 
cut the strips two inches wide. If of flimsy and 
tliin material, line with soft crinoline, taffeta, or 
satin. Fold over both edges and baste together, be- 
ing very careful to keep tlie fold perfectly even. 
The folds are then basted to the garment, each one 
being fastened by stitching with the machine or slip 
stitching along the top edge before the next one is 
added. The edge of the last fold is usually finished 
with a milliner's fold. 

MILLINER'S FOLD, To make a milliner's fold, 
which is a name given to a fold which forms its own 
piping, cut the material double the width you wish 
the fold to be when finished. Next turn down the 
top edge three-eighths of an inch, and the lower edge 
up one-fourth inch, turning both of these edges to 
the under side. Now bring up the lower edge to 
within one-eighth of an inch from the top edge, 
keeping the right side out, and baste both together 
There are various M-ays of finishing this fold, one 
being to slip stitch the one edge to the other, and 
then adjusting it to the garment by means of the 
same stitches; or it may be stitched with the ma- 
chine along its lower top edge and then fastened to 
the dress with slip stitches. Then again it may be 
basted right to the garment and stitched with the 
machine, however, this method is not satisfactory 
with all weaves, and must not be utilized without 
tirst trying a sample strip to determine if the ma- 
tei-ial will work smooth. The dimensions of the fold, 
as well as the edges to lie turned in, may be changed 
to suit one's taste. 



24 



INSTIU'CTIOX BOOK VOW Sl'WIXC AM) IMTTIXC COURSE 



FOLDS OF CREPE arc uiulcrlincd with silk. 
SEWING FOLDS TO GARMENTS. Folds may be 

siipprd stitcliril, iir iii:irliinc stilclicd. as previously 
referred to iiudi'r ^Milliner's Folds. Folds which arc 
to be sewed around the bottom of a skirt or any 



such riiuiidins', iiuisl have the lower edfre of the fcild 
stretched to make the upper edge lit smoothly. If a 
fold is to be applied to a hollow rounding, the upper 
edge of the fold must be stretched to make the low- 
er edge fit smoothly. 



How to Make Piping 



A piping is a border formed of any material on a 
garment by means of the introduction in it of a 
pieee of bobbin, cable, or piping cord, for tlu; pur- 
pose of giving an appeai-ance of greater finish or 
adding to its strength. All jupings must be cut from 
a true liias. 

TO MAKE CORD PIPING. I'la.-e a piece oT the 
cord to be useil along a strip of material — cut on the 
bias — on the wrong side, leaving a depth of two- 
thirds of the width of the strip whi<-h is to lie upper- 
uu)st, when jilaced on the article to be bound. Tack 
in the cord lightly, and then lay it on the raw edge 
of the garment or article to be thus finished; the 
cord side inward, that is, toward the woi'k. Stitch 
or backstitch all togethei'. keeping i-lnse to the cord. 
Then turn all the raw edges inward, and turn in the 



(lutside one ovei' the others, so as to Un-rn a hem, 
Whei'c piping is to form the edge of a Idlil. the pip- 
ing or cording is tii'st adjusted to the fold, then 
fastened to the garment by .sewing between the piji- 
ing and fold, the stitches to be concealed. In some 
instances it is preferable! to fold the bias sti'ip over 
the cold and run snudl, even stitches thi-ough the 
bias stri|) close to the coi'd, to hold the cord enclosed 
and then ad.iust the i)iping to the gai'ment. 

FOLD PIPING. Cut a strip of material on the 
true bias; fold o\'er and baste, bringing the two 
edges together, kce])ing the right side out; adjust 
the piping from the inside with invisible stitches. 
Ordinarily, the fold edge of the piiiing is to extend 
one-eighth of an inch beyond the fold edge to wliii'h 
it is being applied. 



Matching Stripes and Plaids 



The secret of nmtching stripes and iilaids in any 
garment lies in having a perfect pattern or founda- 
tion. If there is any doubt as to the pattern being 
correct, the lining should be fitted before cutting out 
the material. This will be found necessary for gar- 
ments which are to be cut from stock patterns; those 
cut by the S. T. Taylor .system to individual measure- 
ment will not need any changes. Jt is a very im- 
portant matter that all scams are cut to one; width, 
as otlu^rwise trouble is apt to ai-ise in the joining. 
Hefore cutting, ascertain which way the plaid or 
strijjc is to run in a garment. I'sually all plaids 
are so arranged that the darkest sti-ipes I'lni across 
the bottom, with the lighter shades going upward; 
flowers and figures to be taken in the same direction. 

ARRANGING PATTERNS ON STRIPES AND 
PLAIDS, .\rrange the pallcrn onto the mat. 'rial in 
\vha1c\i'r manner it is desired to have the design I'un 
in the garment; if a diagonal oi' V shape effect is 
desired in any section, it will be necessary to lay the 



])atteiii of that section on tl:e bias or diagonal of 
the material; if a hoi'izontal ell'ect is desired, the* 
the section of the pattein is to be placed with the 
design running horizontal, etc. Diagonal weaves 
should never be matched into Vs, where\er it <-an 
be avoided, for, as tin* fabric would hax'c to be taken 
lengthwise and cro.ssM-ise to admit of such matching, 
there would be chances that one .side of the waist 
would not fit as snuiothly oi" the sanu> as the op- 
jtosite one. It is quite essential, that from wliati'ver 
thread of the material the one side of the garment 
is cut, the 0]ijK)site side nuist be cut I'rom the same 
thread to give sjitisfactory results. 

CUTTING PLAIDS AND STRIPES. Cut out one 
section from a single thickness of material at a time: 
then take the portion just cut and place its right 
side on the i-ight surface of the fabric so that the 
stri|)cs or plaids will ])erfectly match, and cut out 
the o])posite piece. By this same method all .seams 
mav be matched. 



S. T. TAYLOR SCHOOL AND PATTERN PARLORS 



25 



Stitches— Tacks— Finishings 




Fig. I. 




Fig, 2. 





Fig. 4. 




THREAD— NEEDLES, Thread 20. 2i and ;U). use 
Xo. 5 needle. 

Thread 36 and 40, use No. 6 needle. 

Thread 50 and 60, use No. 7 needle. 

Thread 70 and SO, u.se No. 8 needle. 

Thread 90 and 100, use No. 9 needle. 

Thread over 100 use No. 10 needle. 

Only the best quality of needless are to be era- 
ployed. Before using, always test a needle to make 
sure of a sharp and perfect point. Never use a 
needle which is blunt on the point, or which has be- 
come l)ent. The size of the thread to be used de- 
pends upon the quality of the work. Never use other 
than a good quality, smooth thread. 

TO MAKE A KNOT hold the end of the thread 
between the thumb and first finger of the right hand, 
wind the thread once around the end of the finger, 
twist the end twice into the loop with the thumb. 
With th(> middle finger pull the loop to the end. 

THIMBLE. Place the thimble on the second finger 
of the right hand. The thimble must fit perfectly; 
otherwise, the operator will be unable to do accurate 

.work. 

HOLDING THE NEEDLE. Hold the needle be- 
tween the thumb and forefinger of the right hand, 
the eye of the needle on the thimble; press the 
needle gently betM'een the thumb and forefinger. It 
is a great fault to hold too firmly to the needle. 

BASTING. Always pin carefully before basting 
(If the materials are silk or velvet, use needless in- 
stead of pins). For basting use No. 50 thread and 
No. 7 needles (betweens or tailors' needles). In 
basting take only one stitch at a time, basting ac- 
curately and true enough that the basting may be 
used as a guide when stitching. Careful basting 
])reveut.s the seam or goods from puckering. 

EVEN BASTING. The term "even l)astiug-' 
means to make llie stitcli the same length on Ijotli the 




Fig. 6. 



26 



I.NSTlUCTiON I5()()K l-OK Sl^WlNC AM) FITTIXC COUl^SE 




Fig- 7- 




iilipcr and hiwiM- side; this stitch varies in length 
fi'Dni onc-eigiith to (ine-l'oiii-t h incti, deijending upon 
where it is to l)e utilized. This way of liastin^- is 
used for seams of dr(>ss waists and where two or 
more thicknesses of material is used. See Fig. No. 1. 

UNEVEN BASTING. The term "uneven hast- 
ing" mi'aiis to make the stitch one inch long on the 
upper side and one-l'<uirth inch on the lower. I'n- 
e\ en basting is mostly used over large surfaces and 
skirt seams and as a guide for stitching. See Fig. 
No. 2. 

RUNNING STITCH. Fse No. 50 thread and No. 
7 needle, llohl the iiialerial between thunih and 
forefinger of the left liand. Take even stitches the 
same as even basting, only smaller. Begin at the 
i-iglit hand corner and take stitch over forefinger. 
This stitch is used when there is no great strain on 
the seam, and it is also used as a gathering stitch 
for ruifles. tops of skirts, shirrings, etc. See Fig. 
No. ;!. 

BACK STITCH. Use No. .50 thread and No. 7 
needle. Hold the material over the left forefinger, 
holding it in i)laee with the thumb and second finger. 
Insert the needle from right to let't. i)iishiiig the 
lU'eiUe nearly through. Draw the needle out with 
the thread running between the third and little fin- 
ger. Repeat, taking up a little of the cloth with the 
needle, according to the size of the stit<'h desii'ed. 
Fasten the entl by taking two other stitches over 
the last stitch. 

RUNNING BACK STITCH. Take up two (U- more 
one-eighth inch stitches on the needle at one time 
with one-eighth inch space between. Repeat begin- 
ning in the middle of the last stitch. A running 
back stitch is used wlu'U the requirement is a strong- 
ei- seam than foi- a running stitch. See Fig. No. 4. 



OVERHANDING. ' 

Iges of cloth together, 



erhand is to .|i 
dge can be scl\i 



the 




1 14 



'•5 



S. T. TAYLOR SCHOOL AND PATTERN PARLORS 



27 



Fig. 14. 




crease fold. LTse No. 70 tliread and No. 8 needle. 
Hold the material along the edge and around the 
end of the left forefinger, keeping it in place with 
the thuml) and .second finger. In starting the seam, 
iiold the two ends between the thumb and forefinger, 
inserting the needle in the edge nearest to you and 
one-fourth inch from the end. Draw the needle 
through, holding the end of the thread under the 
thumb. Now insert the needle at the end of the 
goods in the edge nearest to you, the needle point- 
ing toward you. Draw the needle through and place 
it through both ends of the goods, taking up two or 
strong fine twist is used for it. Fig. 5 illustrates the 
three thread.s of the cloth. Make the stitch close 
and regular. In overhanding the seamstre-ss works 
from left to right, passing the needle straight (not 
slanting) through the two edges of cloth. See Fig. 

No. r,. 




OVERCASTING. Overcasting is done by taking 
a slanting stitch over the raw edge of goods to pre- 
vent ravelling. Use No. 70 thread and No. 8 needle. 
Trim the edges neatly before overcasting. Begin at 
the left hand end of the seam. Hold the work over 
the forefinger of the left hand. Take a slanting stitch 
one-eighth inch deep and one-fourth incli ajiart for 
ordinary work. (Both the depth and length of the 
.stitch is to be regulated according to the require- 
ment.) Continue in this manner, being careful to 
make the stitches even. Do not draw the thread tight, 
as this would cause the material or seam to draw and 
pucker and loose its spring. In overcasting the 
.seamstress works from right to left, placing the 
needle into the material slanting, and holding the 
thread in position with tlie thumli until the stiti-h 
is made. See Fig. No. 7. 

GATHERING. A gathering stitch is to take up 
several stitches on tlie needle having the space and 
stitch equal size, or when occasion requires, the 
space can be double the size of the stitch. Use No. 
40 thread and No. 7 needle. In making a double 
gathering (two rows), be careful to have the stitches 
of the second row directly under the first row. Long 
stitches are to be taken when there is much fullness 




riG. VI.— TACK1N( 



28 



I\ST[UTTIO\ IU)OK FOIl Si:\VIX(i AND I-[TT1X(; COURSI^ 



only. For most gatherings, a fine stitch is necessary 
for Ix'initil'iil worlc. S("(> Kunning Stitch, Fig. 
No. 3.) 

SHIRRING. Sliii'riiig is (lone by making several 
i-o\vs (iT Liathi'iings dircftly under each other. Mark 
the required iiiiiiiher ol" rows at the desired distance 
from each otiii-r. In soft materials the finer the 
stitches, the more lieautiful the shirring. The gatli- 
ering can he drawn up on the threads, or by coids 
run between the rows. See Fig. No. 114. 

BLIND STITCH. This stitch ifj used for fasten- 
ing tlie rolled :ii)d invisible hem. to attach folds to 
garments, also milliner's fold, etc. For making 
blind stitch take up but one thread of the cloth, and 
before drawing the needle init. lake uj> one-Fourlli 



PRICKING Is rnipldved in baek-st itching through 
on unusual thickness; the lU'cdle is i)assed straight 
through and back as in [lutting on a metal button. 
To i)ick up a stitch with a sufficiently strong needle 
for the iturjxise would displace the relative positions 
(if the textures. 

STOATING. Stoating is used to join two ends or 
I ilges tiigetliei' when it is desirable to make the join 
Matter than an ordinaiy stitched seam would do. A 
\('i-y thick cidlh may sometimes be joined raw edge 
to raw edge by this stitch in places where there will 
be no strain and an invisible join is desired. (See 
Fig. TV.) 

DRAWING. Drawing is a stitch worked from the 
right side, to di'aw two ends ov edges together and 




FIG. III. — FELLING. 



inch of the edge of the fold. In making rolled hem 
and attacliing folds to garments, the needle is so 
placed that the inside section of the outside is caught 
to the inider i)iece. 

SLIP STITCH. To slij) stitch two edges together, 
pass the needle in between tiu; folds of the two 
edges, catching first one then the other, using care 
not to catch to the outside of cither edge, and not 
drawing the needle out until at the end of the thread 
or the material. The less fn'(|nentl.v the needle is 
drawn out and started again, the more smooth and 
perfect will be the edges which have been slipped 
stitched. 



leave an appeai'aiice of an ordinary scam. The cliiel' 
characteristic in the working of this stitch is to in- 
sert the needle in the one edge exactly opposite 
M'here it came out of the other one, to prevent eas- 
ing the one to the other ov showing the stitches. (See 
Fig. V.) 

FINE DRAWING. Fine drawing is applied to 
join two raw edges of cloth, usually a tear, so as to 
render the break as invisible as ])ossil)le. A very fin(! 
needle threaded with finest silk twist must be used, 
and passed backwards and forwards just under the 
surface of th(> Tnaterial, all tlu' stitches being care- 
I'ullv made in dill'erent lengths, so as to a\-oid a ridgo 



S. T. TAYLOR SCHOOL AND PATTERN PARLORS 



29 



wliere tlipy ceasp. AVith very thick toxtiires it is 
often necessary to work on l)()tli sides. The surface 
of tlie cloth slionld be scratched up with two fine 
needles held together, then pressed from the wrong 
side with pieces of linen on both the right and 
wrong sides of the eloth. In some cases, the one 
between the iron and tlie eloth would require to be 
dampened a little. 

TACKING— Tacking, as a term, signifies to nin 
two edges together preparatory to stitching them 
with the machine; it differs from "basting" in that 
basting generally refers to securing any two flat sur- 
faces together, or running a thread round any part 
of a pattern to define the seam lines, making quite 
large stitches. 



strong fine twist is used for it. Fig. VL illustrates 
the actual tacking stitches and the finished bar. 

FELLING. AVhat in ordinary dressmaking is un- 
derstood as felling is practically to hem down a 
turning or edge ; but various kinds of felling stitches 
are to be employed, according to the work in hand. 
As a rule, the edge to lie felled is turned awaj' from 
the sewer, the exception being that of an outer edge ; 
that is turned toward the sewer, and felled from 
left to right, instead of from right to left. Of the 
three specimen stitches illustrated in Fig. III. No. 1 
is used when a very slight seam is required ; the 
needle is slanted forward, likewise the stitch, enab- 
ling the work to be accomplished very quickly ; biit 
there is very little strength in the stitch, and there- 




FIG. VII.— BUTTONBOLE STITOH. 



Tacking, as a stitch, means staying, to form a 
stop or security to corners where an opening occurs 
or a seam ends, such as pockets, plackets, etc. ■ 

TO MAKE TACKING STITCH. Several long 
stitches (hegiiuiing and ending at different places 
for additionjil strength), are worked through the 
cloth and interlining crossing the end of the open- 
ing; they arc then sewn over with slanting stitches 
placed as closely as possible, each one going well 
through; when it is finished the bar should sink well 
into the goods. Sometimes, instead of this, a mitred 
design in machine stitching or a fan worked by hand 
is used; but the bar is the orthodox tailor finish; 



fore, when there is the likelihood of any strain at 
all on the seam, as, for instance, to a facing on the 
inside of a garment, say at the armholes or neck, it 
would not be firm enougJi, and then either No. 2 or 
3 must be employed, the last being the strongest of 
the three, as the needle and stitch both slant the 
same way, and the needle is put in the fold first, and 
so gets a good hold of the goods; it will also be seen 
that in working this stitch the seam is held perpen- 
dicular and worked toward the sewer. 

SERGING. Serging is the tailor name for over- 
casting, which see. 

LOOP STITCH. When an edge is very much iu- 



.30 



INSTIUCTIOX BOOK l-Oli Si:\Vl.\(; AM) F1TTL\(; COLKSl^ 






^:^ 




Fig. 2 1 




ilined to fray a loop stitch, such as is used to finish 
off the edfjes of blankets, etc., is employed instead 
of over<'astin<r. 

CROSS STITCH AS AN EDGE STAY. Wlien a 

raw cdijc is not lifiii cnoiiyli Id liold a I'elliny stilch 
and it is desirahle to secure it to tlie under surface 
of cloth a cross stitch is ciii|>]oye(l ; this is also fre- 
([uently worked on a narrow turning that is not 
fastened down, as it gives an additional security to 
the seam, and if an accident should break the seam 
stitches the turning will not give way because of the 
cross stitch, without which it would be very liable 
to do so. Fig. No. l;5, slu)ws the ordinary cross- 
stitch, with needle in position to work from right to 
left. Fig. No. 14 Shows the eross-stiteh used to 
finish a hem. 

FEATHER STITCH. SINGLE. Fig. No. 1.", .shows 
a single feather stitch. This is also known as a 
herring bone or lu-iar stitch. This stitch is worked 
lengthwise. Start from the right, then to the left, 
keeping an even line. See Fig. No. 15, needle in po- 
sition. This stitch is used as a finishing stitch on 
bone casings, hems, etc. AVhen a hem is finished 
with a fancj' stitch, the hem is turned to the right 
side of the garment. 

FEATHER STITCH, DOUBLE. Fig. No. 17, rep- 
resents :i dcMililf I'rathi'r stilrh. This is used when a 
more elaborate stiti-ii is desired. 

KENSINGTON STITCH. Fig. No. 10 shows the 
kensington stitch with the needle in position. 



CHAIN STITCH. Fig No. 11 shows th 
stitch witii the uccdle in position. 



•ha in 




Fig. 22 



Fig. 23 



S. T. TAYLOR SCHOOL AND PATTERN PARLORS 



31 



MACHINE STITCHING. First, soo that the ten- 
tioii ill the mauhiue is neither to tight nor too loose, 
with a stitch the proper h'ngth according to the 
thickness of the material to be stitched, and run the 
machine with a steady motion (not too fast). Silk 
tliread should always be employed, for it not only 
wears better, but is more elastic and yields to the 
pressing more effectually tlian does cotton. Stitch 
true and even, as much of the beauty of the gar- 
ment will depend upon the stitching. Always see 
that all basting is strong enough to firmly hold the 
two edges to be stitched, and so prevent one edge 
being "pushed" when sewn by machine. 

GUSSET. A gusset is a piece of cloth cut in the 
shape of a triangle and used to enlarge, and as a 
stay in an opening at the end of a seam. It can be cut 
any size desired. Take a piece of cloth two by two 
inches and fold to form a triangle and cut in the 
fold. Always set a gusset into a seam, never into a 
rent made by cutting down, as the hem on edge 
cannot be Avell finished ready for gussets. Put a 
row of stitching across the bias fold of gusset after 
set in. 

TO MAKE A TRUE OR CORRECT BIAS. To 

make a correct bias, cut directly along a thread 
crosswise of the material ; then fold the corner over 
so the straight cross edge wiiich has .iust been cut, 
will lie directly along a lengthwise thread of the 

material. 

HEMMING. To form a bciii. turn the edge of the 
material in one-fourth inch and crease, on woolen 
or soft material baste to position, then fold the width 
of hem desired and liaste near the edge of the first 




FIG. IV. — STOATING. 



lohl. Ibild tlie hem over the first finger of the left 
hand, holding it in place with the thumb and second 
finger. Insert the needle in the edge of fold, ])oint 
from you, one-fourth inch from the end of the hem, 
taking up two or three threads. Pull the needle 
through, holding the end of the tliirad under the 
tliumb. Now place the needle through the end of the 
hem, needle pointing towards the left slioulder; take 
up two or three threads of tlie cloth and the same of 
the fold. Continue taking the desired stitch, being 
careful to make the stitches even. In starting a 
new thread, place the end of the previous thread 
under the hem and start as beginning. Always cut, 
never break the thread. To fasten at the finisli take 
two or three stitches over the last one taken. Fig. 
No. ■") shows the stitch and needle in position. 

HEM IN HEAVY TEXTILES. In heavy t(>xtiles 
the edge of tlie hem is not turned in. To make this 
neatly, lay the cloth with the right side on a board 
or table, turn over the hem the depth required and 
baste down ' smoothly with about one inch stitches 
one-half inch below the raw edge. Cat or cross 
stitch (see cross stitch), the hem from left to right, 
so tliat one stitch will rest on the hem, one-eighth 
inch back from the raw edge, and the next in the 
material just below the hem, so on alternately the 
full length of the hem. Care must be taken to keep 
the hem straight. When taking the stitch in the ma- 
terial, be careful to only catch one stitch of the 
fabric, so that it will not show on the right side. Do 
not |)ut the stitches very close or draw the thread 
tight, as the latter would cause the outside to show 
dents at every stitch made. Use a very fine needle 
and fine silk thread. Fig. No. 14 shows the cross 
stitch used to finish a liem. 

HEM IN THIN FABRICS. In thin fabrics the 
hem is seldom left with a raw edge, as all edges 
which ravel should be concealed. Therefore, the 
edge of the hem is to be turned in and the hem 
basted over according to instructions for "Hem- 
ming." It is then to be felled or cross stitched to 
position. The cross stitching lieing done as instruc- 
tions for "Hem in Heavy Textiles." To do the fell- 
ing properly, and so it will not show on the out- 
side, use a very fine needle and sewing silk the 
identical color of the fabric. Pass the needle first 
Ihi-ough the edge of the hem and then take up one 
stitch in the material close to the hem, and so on, 
alternately working right to left. Not more than 
one top thread of the material is to be taken up 
when making the above stitch, as otherwise the sew- 
ing would show on the right side of the material and 
this must be positively avoided. IMake the stitches 
as far apart as practical and leave the tlireail quite 
loose. 



I.NSTKL'CTIO.N BOOK FOR SEWING AMU I'lTTlMG COURSE 



HEM WITH BOUND EDGE. The raw oilgo of a 
hoin may lie tiiiislicd liy adjusting nl>li<)ii hiiuliiig flat 
on the raw (hIko of llie fal)ric. Tlu' i-il)l)on bimling 
must be sewed on a little full. The other edpre is to 
he felled to the material. If this is done neatly it 
will make a very pretty finish. 

HEM ON OUTER SIDE OF GARMENT. On 

fahrirs li:i\iii^' doiililf i'^irr. (ir hoi h sides alike, it is 
a uuitti'r of individual taste wiietlier tiie iiem is 
turned to the i-ight or wron»: side of (he material. 
It frequently making a very pretty finish and trim- 
riiinjr in itself. When hems are to ,be turned to the 
outer side of fabrie, the seams are clipped to the 
depth required and are tui'ned to the rijjht side as 
represented in Fig. No. 24. The hem is then turned 
over and blind-stitehed. slipped-stitehod, eros.s- 
stitched, feathei--stitehed, double feather-stitehed, or 
machine stitched. 

NARROW HOLLOW OR ROLL HEM. Do not try 

to tiu'n in the edges, jdace the edge of the material 
between the tluuub and tiist finger and with the 
thumb roll the I'aw edge in, either to the right or 
wrong side as desired, then fell or blind stitch to 
position. Uo this work very lightly and do not 
handle it more than is absolutel.v necessary. "When 
rolling this hem to the outer side, the seams are to 
be clijiped to the depth required and are turned 
to the right side as represented in Fig. No. 2-t. The 
roll hi'm is the most dainty and narrow hem made. 

FRENCH FELL HEMS. Fi-cndi fell hems are 
frequently used on rutfles, etc., and ai'e made by 
turning in the one edge to the depth of about three- 



quarters of an inch, and stitching along the seam 
one-eighth inch from the edge. Turn over and fell 
to i)osition. (Sec Fig. No. 11."). i 

HEMS IN WASH FABRICS. Arc usually stitched 
by machine, although in the liner fabrics hand-sew- 
ing is better applied, and ever so much more dainty 

,-, iid pleasing. 

CORNERS OF HEMS, TO MITRE. This is one 
part of garment-making which demantls particular 
attention; for if the corners of a hem are not well 
made, the result will never be artistic. Ripping and 
undoing the parts will spoil the smooth appearance 
of the hem. Turn the hem over and baste to posi- 
tion along one edge and then along the other edge 
of the material. This will let the hem of the one 
edge rest directly across the hem of the other edge 
at the corner. With tracing wheel or thread, mark 
diagonally from Avhere the two hems meet at the 
upper edges out to the point of the corner. Open 
the corner, and cut at one-fovirth inch outside the 
marking of both the upper and lower hem. Fold in 
the edge of the mitre of the upper hem at the mark- 
ing and fell, slip-stiteh or machine-stitch to posi- 
tion to the under hem at the mark for the mitre. Or 
the mitre may be stitched on the wrong side, the 
seam opened and pressed and then turned over and 
sewed to position. Or it may be joined by means of 
the drawing stitch. Under no circumstances should 
extra fullness be left to lie underneath a mitre where 
a flat finish is desired. Tf the work has been care- 
fully done there will be a perfect res)dt. All hems 
are to be well pressed when finished. (See Press- 
ing.) 



Facings 



SHAPED FACINGS. If th.'re is t.... much ol' a 
curve, either rounding or hollow, to admit of a 
smooth hem then a facing is by far preferable. Fac- 
ings are usually made of the same material, silk, 
satin, or fine broadcloth. The facing is cut the same 
shape as the curved edge, on the same thread of the 
material, allowing for one-fourth inch s<'am turning 
both low(>r and top edge. Then turn in the one- 
fourth incdi at both top and bottom and baste to po- 
sition with three-c|uai'ter inch stit<'hes. Turn in the 
bottom e<1ge of the section to be faced one-fourth 
inch and baste to jiosition. The facing is now to be 
lia.sted to the section, by ])lacing the wi'ong side of 
the facing against the wrong side of the section 
keeping the lower edges even. The lower edge is 
then to be slii)-stiti'he(l, and upper cd'4-e blind- 
stitched or machine stitched as uia\- lie desiied. The 
upper edge of a facing may be ]iinl<ed instead of 



turning it in; the pinking being preferable when an 
e.xci'cdingl.v snmoth effect (Ui the outside is desired. 
The edge may then be cross-stitched oi' iiuudiine 
stitched to position. 

BIAS FACING. T.ias l'a<'ings are made and aji- 
plied in the same manner as shaped facings (which 
see), with the exception, that bias facings nuist be 
stretched to fit curved edges and are never desirable 
when there is very much curve In the edge. When 
fabi'ics are so scant they will mil peiniit oT a hem. 
a bias facing is to be used. 

In applying facings around the lidllcnn of sleeves, 
waists, skirts etc., or wherever a lacing may be 
needed, always bear in mind. ni'\cr to Imld a facing 
taut when basting it against the inal<M'ial: the facing 
nnist be held a trifle casici' than the (uilside, then a 
smooth finish will be the result. .Ml facings are to 
be well pressed when finished. 



S. T. TAYLOR SCHOOL AND PATTI^HN PARLORS 



33 



Buttonholes 



A garment that is perfect in evoi-y other respect 
may be greatly injured in ai)pearance by liadly cut 
and poorly worked buttonholes. 

HOW TO CUT BUTTONHOLES. One of the most 
nutii-calilr iaults seen in hiil toiiholcs is that result- 
ing from cutting tlie holes so that there is a break 
in the slash, which jiroduces an uneven or jagged 
edge. This is fi'cMiuently caused by the use of dull 
scissors, or from cutting the buttonhole with two or 
more clips or movements of the scissors. And again, 
it is sometimes due to the slipping of fabrics which 
are soft and elastic, or where there are two or more 
thicknesses. To prevent this very common accident, 
before cutting the buttonholes have the edges of the 
garment finished and the parts well basted together 
by running a basting along the edge of the garment, 
and another basting at a distance back from the 
edge of the length the buttonhole is to be. 

All Inittonholes must be exactly alike, and at 
equal distances apart. They are cut large enough 
for the button to i)ass easily through without draw- 
ing. Ascertain the required size on a separate piece 
of nmterial. To determine how far the buttonholes 
are to be placed apart, mark where the first and 
last buttonholes are to be placed and divide the 
space between in equal distances. For vests and 
close fitting waists they are seldom set more than at 
the most one inch apart, this depending entirely 
upon the style or button being used and the pre- 
vailing fashion. In vests, waists and coats, the but- 
tonhole is usually cut crosswise, commencing to cut 
directly on the fitting line and at right angle with 
the closing edge. On curved edges it is often neces- 
sary to deviate a little from this rule in order to 
produce a harmonious effect. In plaid goods always 
cut on a straight line of th(^ plaids, unless it has been 
taken bias, then the same rule applies as used on 
l)lain materials. Buttonhole scissors are to be used 
when cutting buttonholes. Set the guage at the de- 
sired length for buttonhole, fasten firmly and with 
a steady hand cut. To cut the eyelet buttonhole, 
first cut out the eyelet with a punch, exactly on the 
fitting line, and the rest of the buttonhole with the 
buttonhole scissors, being careful to cut directly 
from the centre of the eyelet. 

TO CUT BUTTONHOLES IN MATERIALS 
WHICH FEAY. For thin materials, or materials 
such as are apt to fray, use a very tliin plate of tin 
or brass about one inch wide and three inches long, 
with an opening cut in, as sliowii in Fig. No. 20. This 
opening is about one-sixteenth ol' an inch wide and 



about one and one-fourth inches long with tJie 
rounding, unless larger buttonholes are required ; 
then the opening must be made in accordance. The 
foregoing size may be used for all smaller button- 
holes, by laying a piece of metal or cardboard across 
the end of the opening, making the same smaller. If 
the eyelet is not desired in the buttonhole, then 
place the cardboard or metal strip across the eye- 
let end. The plate is placed over the mark for the 
buttonhole, and a little mucilage or shellac is 
brushed over the opening, care being taken to press 
the plate down firndy to avoid the liquid spreading. 
When dry, the buttonhole is cut and worked in the 
usual way, and if properly done, it will be found 
there are no fraying of edges or raveling threads to 
be tucked under. Under no circumstances is the 
mucilage or shellac to be used without the aid of the 
plate, as it must not be allowed to spread farther 
than the buttonhole stitches are intended to cover. 
Buttonholes on ladies' and children's garments 
ai'c always made on the" right side; men's garments 
having them on the left side, biittoning to the right. 

HOW TO WORK BUTTONHOLES. With fine 

silk ovcrcMst tlie imI^cs of each buttonhole as it is cut, 
making tlie stitches one-eighth inch apart; great 
care being taken not to draw the edges out of shape. 
A thread should then be run round to mark the 
depth which the stitches are to be taken, though an 
expert does not require this where the edge is over- 
cast. Now thread two needles with twist: draw the 
one thi'ougli tlie garment at the back end of the 
buttonhole, at the lower side, the needle end is fast- 
ened to the knee, fabric, or some convenient place ; 
then work the buttonhole with buttonhole stitch 
with the second needle (as clearly defined in Fig. No. 
VII), by inserting the needle into the lower back end 
of the buttonhole, point towards .you, taking stitch 
the same depth as in overcasting, or just to the outi-r 
edge of the thread used to mark the depth which the 
stitches are to be taken. Draw the needle and thread 
through. Insert the needle again, a thread or two 
from the first stitch, pushing the needle half way 
through; now throw the thread under the point of 
needle from right to left. Draw the needle and 
thread out at right angles with the slit, the twist 
coming at the top edge of the slit. After each stitch 
is drawn down the loose twist should be picked up 
firmly by the thumb and forefinger quite near the 
stitch, and two or three circular twisting movements 
are to be made so that the loop formed will settle 
securely and neatly into its proper position. Be 
careful to eoniplete each stitch with uniform move- 



34 



ixsTiucTiox BOOK I'Oi^ si:wi\(; AM) iMTTfxc corusi': 



nients, earryiiijj- the loose thrr.-ul nl' tin' lii-sl iicedlc 
tho whole way romiil uiuIit llic slilc-hcs. kcc|tins' it 
straifrht aiul avoidinir catcliinK it with the needle. 
When the buttotiliole is worked all i-ouiid fasten olV 
the working stileli just opposite the fust one; hold 
tlie hiittonhole riiiid\- between the liiifi:er and tlniinl) 
of tlie jelt liand and jreiitly pull the loose thread. 
niid<ins- the edjres peii'eetly taut, and work the bar 
across till' end with that thread. l)y passiiii;- the 
needle u|i and down ihro\it;h the floods, until two oi- 
thi'ee thi'eads cross the end of the buttonhole (|ui1i' 
dose to tlu' stitches. Then the nee'dle is brousilit np 
throufrh the laiu'ic at one siile of these threa<!s and 
put down tiiroiifih it at tlu' otlu'V side until tin y are 
entirely covered with these ovei'-stitches and the 
stay looks like a line cord or bar. This makes a 
firm bar or stay for any Imttonhole. (See Fig. VI.) 

VARIOUS STYLES OF BUTTONHOLES. Th.-i. 
ai-e various st.\les ol' buttonholes, cadi one lindini^' its 
own .■iila]it ion. 

ROUND EDGE. PLAIN, SINGLE BARRED BOT- 
TONHOLE. Kiii'. No. 21. illusi rates the roun,l e.l-e. 
plain buttonhole, 'i'liis style buttonhole is usually 
used on lit ted di'css fi-onts. underfi'arnu'nts. etc. This 
is worked from tin- back eiul around the point of the 
front end to the back eiul and bai' taid<ed at the 
ba(d; end oidy. (Sec ll(.;v to Work liuttouholes.) 

DOUBLE BARRED BUTTONHOLE. Fi^r \o. 22. 
illustrates the double barred buttoniuile. It is use.l 
in collars, cntfs. etc., and is the best to use in shirt 
waists when the; buttonholes i-est perpendicular and 
qrc to be worked up and down, thus fiivinj"; a side 
.strain on tlie hole. This buttonhole is bar-tack(>d at 
both cuds. 

EYELET BUTTONHOLE. Fiy. Xo. 2.). illustrates 
the eyelet buttonhole. For garments of hea\y doth 
and foi" many Iiodiees this stylo buttonhole is the 
best and most satisfactory in all respects, as il pro- 
vides a resting jilace for the shank of the liutton or 
the stitches holding the button. To work this imt- 
totdiole pi'oceed exactly the sanu' as instructions 
given. "Ilow to Work HuttonlH)Ies, " with the ex- 
ce|)tion, when the eyelet is readieii, the woi-k must 
be adjusted a trille so that the twirling movemeni 
of tlu^ working thi'cad nuiy be nuule in a slightly 
difTci-cnt direction, thus forming a corner at the be- 
ginning of the eyelet ; and these m()v<'nu'nts are to be 
reversed at the o])i)osite side to i)r()d\u'e a similar 
coi-n(!r at the end of the eyelet. The ba(d< end of the 
eyelet l)uttonholc may ' be 'Maidced" or "bar- 
stitched," 

PRESSING BUTTONHOLES. After the l)utton- 
holcs air Worked, their straight edg(>s should lie 
elosely basted togdiier \ty ,-in over-aiid-ovei' stitch. 
nuide by pushing the needle up and down over the 



edges just back of the stilches. Then they arc to be 
pi-essed through a dami)ened cloth (the dampened 
cloth is to be used on all buttonholes when the goods 
will permit). Eyelet bultonholes are to be pressed 
in the same numner, and before they are dry, a stil- 
etto or some similar ivory or metalic instrunu'Ut 
should be pushed vigorously up through each eydct 
until that oijcning beconu's jjcrfectly round and the 
stilches around its edges are regular and distinct. 
Then, when the bastings are renu)\-eil. the button- 
holes will Itc syiiii'trical in appc.-iraiicc. 

TO MAKE IMMITATION BUTTONHOLES. The 

iiiiilation buttonhole nuiy be constiueted in various 
ways, the styles lieing largely governed by indi- 
vidual taster Some are worked right on tlu' gar- 
ments in their respective places by applying a thin 
cord over which a buttonhole stitch is work'ed into 
the shape of a buttonhole. 

Another nu'thod is to cut a piece of cable cord, 
medium size, twice the length the buttonhol(> is to 
be when eom]deted. Cut a bias sti'ip of the fabric 
till' buttonhole is to be made of just as long as the 
cord ami wide enough to cover same, allowing 
enough for felling over each other on the under sid<'. 
("are must be taken to draw the material smoothl.v 
over the cord and to avoid twisting it. Fold ovei- so 
that both ends meet and sew together with over- 
handing stitches, twisting the tliread around the ends 
as a finish. The ends are usually concealed beneath 
a button. To adjust this buttonhole to the garment. 
sew through th(> centre where both edges have been 
joined togethei'. liuttouholes to be made (d' plain 
or fancy cord ai'c made in this same way, with the 
ex('(q)tion that the covering is omitted. 

A very prett.v trimming buttonhole is ibnie in the 
following manner: Cut a bias piece ol' the chosen 
fabric one iiu-h wiile and four and one-half inches 
long — these dinu'Usious nuiking a buttoiduile of one 
and one-half inches in length when completed, -loin 
both ends of the sti'ip together on the slant and jircss 
the sciun o])en. Next turn down the upper edge 
about one-eighth of an inch and the lower one up 
three-eights of an inch. Now fold up this lower edge 
lo w itliin one-sixteenth of an inch from the very top 
edge and slip or blind stitch both edges together, 
being cautious about getting stitches through to the 
outside. This strip is then folded into the shaj)!' of 
the butlonhole. (If the buttonh(>le has been nuule 
from nuitei'ial other than silk. ]U-ess it slightly before 
forming it.) The ends are to be well tacked before 
attaching it to the garnu'nt. To fasten, blind or 
slip stitch from underneath along each side of the 
i)uttonholc. Do this veiy dainty, as ])ressing the but- 
tonhole too much with the fingers will give it a plast- 
ered clVc-l. 



S. T. TAYLOR SCHOOL AND PATTEIiX PAHLOI^S 



35 



To Sew on Buttons 



Have all parts stayed with tap<' nv a strii) of canv- 
as along the line you wish to sew on Inittons. li' pos- 
sible, have this stay eoneealed between the lining 
and outside fabric. Make marks to designate the 
place where the centre of the button is to rest on the 
garment. 

Shank buttons are to lie sewed on running parallel 
witii the buttonhole, not lengthwise, unless eyelet 
buttonholes have l)een nuule, then it will not make 
any difference. Buttons without shanks, that are to 
be sewed on through holes in them, must be sewed 
very loosely to permit of winding the threads to 
form a thread shank, thus pi-eventing a drawn and 
gapped appearance on the buttonhole, when but- 
toned, and at the same time it iiiereases the dura- 
bility of the work. 

SEWING ON BUTTONS FOR TRIMMING EF- 
FECTS. Whei-e buttons arc to lie used \\>v triiii- 
mina-, those with holes and flat sli.-inks are sewed 



close to the garment and not wound. When but- 
tons with wire shanks are to be ad.justed, pierce a 
small hole just where the button is to be placed, and 
pass the shank of the button through this and fasten 
on the underside with a shank ring; or, if none are 
at hand, pass a cord or tape through the shank and 
fasten by sewing it firmly to the lining on each side 
of the shank. Where several or more buttons are to 
be fastened with one cord or tape, leave the latter a 
trifle loo.se between them — just enough to ease it — 
for drawing the same would cause the outside fabric 
to draw and «rink'le. 

THREAD FOR SEWING ON BUTTONS. Silk 
twist or cotton thread, the latter in number from 8 
to 40, according to the size of the button, are to be 
used. Always use doid)le thread to sew on buttons. 
The knot of the thread must be invisible ; place it 
between the button and fabric, or between the stay 
and outside fabric. 



Harmonizing and Becoming Colors 



A gown should never be anything but the fi'ame 
for a picture — elegant and costly, li you will, but 
still a frame; and it may be observed, as a general 
rule, that while a gleam of lich color suggests in- 
finite possibilities, the same coloi- coxering a large 
area suggests nothing but monotony, and this is to 
be avoided where colors are to be used for triuuning. 
In the selection of colors it is imiierati\e that one 
should know just what shades harmonize best with 
the hair and complexion, ('ontrasts are full of artis- 
tic possibilities, but the.y nuist never be glaring. It 
is always an evidence of bad taste to wear any color 
that by reason of its brilliancy attracts attention to 
itself. The hndsomest garment will ajipear ugly 
where the color is not becoming. 

BLACK IS A STAND-BY. It harmonizes with all 
times and occasions and suits almost every com- 
plexion. It is the leading favorite with all classes 
and conditions of women, and can be depended upon 
in any emergency. Even a sallow bruni'tte loolvs 
well in it. and a dazling blonde in a handsome black 
costume is a feast for the eyes. There are various 
shades of black — the dull deep blacks being chosen 
for mourning, tin' othei' lilncl<s for other occasions. 



DEAD, LUSTRELESS WHITE 
AVOIDED, ('i-cani white tints are 



SHOULD BE 

better suiteil to 



both blonds and brunettes. Turquoise-blue is par- 
ticularly becoming to women having dark hair and 
blue eyes. The paler shades of blue and yellow and 
the most delicate greens are especially adapted to 
blondes; so also are the darker tones of blue and 
gi-cen, together with the whole range of tans and 
golden browns. Grays are also very becoming to 
blondes. Violet can be woi'ii by brunettes having 
very fair complexions and by women w'ith chestnut 
brown hair and hazel eyes. Pale pink and pale blue 
can be safel.y worn by both blondes and bnuiettes. 
Golden brown i.s very becoming to a titian blonde, 
in whose reddish gold or golden bronze hair are rich 
lights and shadows that accord well with similar 
tints in the gown. After these may be mentioned 
pale or very dark greens, pale yellow and black, un- 
relieved by colors, for this type of blonde. 

If one has a very pale complexion, the most trying 
tones are the light grays and tans which impart a 
yellow tinge to the face. Heliotropes as .well as reds 
of all shades must, on general principals, be avoided, 
or at least carefully selected by women with auburn 
hair, although, some shades of red are becoming to 
the purest blonde types. Certain shades of red, such 
as cardinal, light crimson and purple, have the dis- 
advantage of imparting a distinctly sallow tinge to 
the fairest complexion, though they have a directly 
op])osite influence upon a brunette. Garnet and dark 



36 



ixsTiuTTiox i5(^()k' FOR si:\vix(; AND I'lTTixc couiisr: 



l)rowii iuc Jilsii hccominfr to a hruiiottc. Roso red, if 
worn uc'xt tlu- skin, will eansc the most lirilliaiit 
tH)nii)li'xiou to lose some of its freshness. Military 
blue, as well as yellow, ai-e always beeoming to bru- 
nettes. Navy blue ean i)e worn by ail types, with 
the exei'|)tioii (if the pnrple navy, whii-h must be 



avoided by ]ji'unett(>s. In gi'ays, choose blue gray 
for the l)londe, and a pink gray for the brunette. 
Lavender shades are also bcrdiniiig to lii-unettes of 
fair complexion. 

In the selection ol' tones, haniKUiy is the secret 
of success. 



To Improve the Figure— Becoming Lines 



The artist finds in the lines of a- gown or suit as 
great a field for the display of judgment and talent 
as in the coloring, oi'namentation and texture of the 
material. The study of three things is necessary in 
order to secure a style of dress which will conform 
to a certain extent to the dictates of fashion, and l)e 
artistic anil i)ee()ming. The three essentials ai-e 
form, coloi' and fabric. A woman who has an ele- 
gant figure nnist make the most of it, and each one 
nnist study the style of dress wlii<'h will bring out 
her gooil points and cover up her defects, .\o gown 
or suit can possibly be stylish unless it is becoming 
to the individual. 

Stout women should avoid lough. hea\y falirics. 
These are to be left to the tall, angular woman, while 
those who are petite may revel in light diaiihanous 
nuiterials, with plenty of laces and ribbons. 

Another jioint worth consideration is, that while 
many women have short waists and long limbs, oth- 
I'rs have extreme length of body coujiled with short- 
ness of limb. Tn the first instance long wjiist eifeels 
and full skirts with horizontal trimmings will bi' 
found mt)st becoming; while in the sei-ond. round 
waists and straight sweeping skirts will add ap])ai- 
ent length to the Iind)s and heighth to the ligure. 

On the princijjle that vertical strii)es tend to 
(dongate. and horizontal stripes to widen, stout wom- 
en always look best in the former, while the latter 
are ada])tcd only to the tall, slender women. This 
mil- also ai)plies to plaids. Narrow stripes ai'e to lie 
avoidetl. when a pronounciMl effect is sought, as only 
broad stri])es hav(> character. These as well as 
plaids, nuist he accurately matched in making. Quiet 
coloi's and designs ai'e essential both in textiles and 
in garnitures, when the wearer's avoirdujjois is ex- 
i-essive. No nuitter how strong the temptation may 
be to choose glowing colors and bold ])attei'ns, it 
cannot be yielded to if really tasteful dress is de- 
sired. 

For bodices, any decoration that tends to give the 
waist a tajtering effect may be safely ado|)ted by 
llie woman of more than average rotundity — all hij) 
triiiindngs to be avoid<'d. A waist pointed front and 
liack. and short ovi-i' the hips, will adcl very much 
lo giving Ol- making a gond figure. Women of aver- 



age size can wear almost any style, wherea.s, the 
slim woiium must ado|)t the full wai.st to give her a 
broad effect. Plain wiiists ;ire to be entirely disre- 
garded by the slim woman. 

Loose fitting conceals and tightness emi)hasizes the 
good or bad qualities of the lines beneatli. For this 
reason it is .just as imi)ortant to gown the large figure 
loosely as the small one, hut unfortunately, the aver- 
age large person does not realize this fact as keenly 
as the vei'v slight individual does. Of eoui'se, the 
tri'atiiumt of the two figures is i|uit(> dilferent, but 
the prineijile involved is the same, nanndy, that of 
concealing the undesirable lines, and when this is 
not accomplished, the sight is a sad reflection on the 
woman's gown-maker, whose; duty' it is to save her 
fr(nu such exhibition. If any of the nnsightliness is 
due to poor corsettiug, this fact will not excuse the 
gown-maker, as she should not be foolish enough to 
attemjit to build a gown on such a foundation, foi- 
the I'orset bears the same relati(ni to the modern 
gown that the foundation of a huihling does to 
ai'chitecture. Insist on your customer being well 
corsetted if .you have any' hope of your work show- 
ing qualily. (This does not mean that she must part 
with a fancy i)riee for a custom-made corset.) If a 
(li|)lomatic explanation to your eustomei- of the ne- 
cessity of projH'r stays does not convince her of the 
reasonableness of your recpu'st, you shoidd, in jus- 
tice to yourself and your work, refuse to aeci>pt her 
order. It is a mistake for the stout woman to cling 
to the old-fashioned stays, that permits, and helps 
to increase the size and quantity of fatty tissues of 
the abdomen; that destroys all "poise" and "car- 
riage;'' that eb^vates the bust to a horrible line 
which shoi'fens the length of the neck (in effect, if 
not in I'cality), and which does not i)oss(>ss a single 
]ioint in its favoi'. A sei'ions and common error is 
often made in lacing tiie slay to tight, causing the 
llesh to protrude above oi' lielow. This difHculty is 
easily overcome by using three lacei-s, each one lac- 
ing about one-third of the stay. The centi'c laeer 
is used to take the great(>r ])art of the strain, while 
the lop and bottom ones are drawn only sul'lieient ly 
tighl to make the stay lie smoothly ;igainst the 
liirure. 



S. T. TAYLOR SCHOOL AND PATTERN PARLORS 



37 



The hartlest of all the aliiidiiiiMl lines to eoueeal is 
the large abilomen. Tlie best remed.y available is 
tirst to make sui-e the skirt does not poke out in 
front at the bottom, l See Filtinj;- Skirts.) Seeondly, 
the bust should be liuilt mit. \\<y tlie larger the bust 
the smaller will apiiear to lie the alnlomeu. Aside 
from a few good lines that may be obtained in the 
ornamenting, this is all tliat ean be done for such a 
figure. But remember, you are only eoneealing the 
evil when you follow tliese suggestion.s. The evil 
should be cured by the eorsetier. 

A figure that possesses a large bust and flat ab- 
domen should be fitted loose below the bust line in 
order not to exaggerate the size of the bust. The or- 
namentation is often permitted to hang away from 
the figure at this point, wliidi makes the form look 
smaller beneath. 

Large hips appear smaller if the waist is made 
large. This should be accomplished in the fitting of 
the stay, but wonders can also be worked into the 
gown or suit by fitting loose under the arm. 

A figure that is round shouldered may be greatly 
improved by building out the shoulders in the back 
so that the line across the back will be less curved. 
(See Padding.) The trimming and ornamentation 
can also be made to assist. Fitting close to the waist 



in the liack shiudd be avoided in sucii i-ases, unless 
the figure is very slight; the short-waisted or Empire 
etifeets are better, but, of course, it is only directly 
in the centre of the back that the line is so helpful, 
therefore, the short-waisted line need only be em- 
ployed there, normal or modish lines being used else- 
where. For impi'oving sloping shoulders, see Fitting 
Waists. 

AVhere one shoulder blade is larger than the oth- 
er, the snuiller one is padded out so as to nudce both 
the same size. Protruding shoulders need padding 
between the shoulders. 

AVomen having one low hip should have it ]iadded 
to make both alike. Also any hollow directly below 
the waist line at the back is to be filled out with 
padding. The last two defects mentioned should be 
corrected by placing the pads beneath the corset and 
attaching them permanently to the inside of it. 

In making and designing costumes, remember that 
the gown intended for the drawing-room no way 
resembles that devised for promenade wear, and the 
woman who confounds the two is sure to find her 
attire wholly at variance with the rules of good taste. 
House toilettes ean searcelj' be too elaborate, but a 
studied simi)lii-ity should mark those intended for 
the street. 



Helpful Facts 



Velvets, plush and astrachans should l)e made with 
the nap or pile running up. 

Paste velvet with smving silk, never with cotton 
thread. 

Hold velvet lightly when sewing. I'se an extra 
piece of velvet both piles together. 

Always interline velvet with fine crinoline. 

Cloths and all wool fabrics are to lie made with 
the nap or pile running doAvn. 

Sponge and shrink all woolen cloths liefore cutting 
and making. 

S])onge and shriids ;dl wool biaids and triiumings 
Ix'fore applying to garment either lor finishing or 
trimming purposes. 

The pile or nap of each piece nuist run the same 
way, else it would appear as if two different ma- 
terials had been used. 

Satin should always be made witli the nap running 
down. 

"When cutting changeable goods, be careful to cut 
the pieces to run one way. This rule also applies to 
colored cashmeres and Henrietta weaves; for. though 
not changeable in eifect, they often show a different 
shade when taken up and down. 



The warp threads of a cloth run lengthwise. The 
filling or wool runs crosswise. 

Folds and creases in fabrics must be remov(Nl be- 
fore the material is made up. Folds down the fi-ont 
01 a skirt is very bad form. 

All selveges are to be cut off entirely before 
.shrinking or sewing. 

Always cut, never tear goods. 

When taking out stitches pick one out at a tinu\ 
being careful not to mar or soil the work. 

"When basting or tacking skirt seams, where one 
edge is straight and the other sloped, the sloped 
edge should always be held towards the sewer, oth- 
erwise it is likely to become tightened, as being 
sloped it will easily stretch. This same rule applies 
to all seams which have a straight and bias edge to 
join together. 

In tacking shields care should be taken to catch in 
the binding, not through the rubber. 

Loops made of ribbon binding are sewed to the 
armhole, at the end of the side form seams, to be 
used as hangers. 

Never juece a skii-t at the top 1o h'ngthen it. un- 
less a yoke is used. 



38 



IXSTKLCTION BOOK FOR Si:\\"l.\(; AM) IITTINC COlKSi: 



Select tlireail or silk a sliade darker tliau the ma- 
terial, as it will woi k liarhtei-. 

Only the best i|uality of eanvas is ever to be used, 
and every thread of it must be thoroughly shrunk 
before entering the garment. 

Ends of threads should always be fastened. Muili 
time can often he saved by stitidiing fiom a little 
way in the goods to the edge on a line where the 
stitching is to be, then raise the presser foot, turn 
Ihe goods and stich the .seam where wanted and at 
the other end turn and retrace a short distance. 

In sewing gathers on a band. theV should always 
be placed next to the feed with the band on top. as 
the feed will h<'lp to crowd the gather.s in place. 

When possible, keep the l)ulk of tlie goods to the 
left of the needle, as it is hard to keep the goods in 
I)laee when forcing a great amount under the arm of 
the machine, and the feed has a tendency to push the 
goods to one side. 



Long stra'ght seams aie to be liasted together, 
then marked for stiteiiing liy placing a long I'lde on 
llii'm and making a fine chalk iiiai-k directly along 
where they are to be stitcheil. 

Attention to small details proves that a seamstress 
tiikes ]iride in her work, and that she undei-stands 
tile ait thoroughly. 

Aecurarv in every deliul is absolutely necessary, 
not oidy because the result will l)e pleasing to the 
eye. but as well that no garment can be perfect in 
tit and finish without it. 

The slightest deviation from a measni'ement, any 
neglect to fasten threads properly, will often spoil a 
garment. The operator is not to allow herself to 
think that a little more or a little less here or there, 
or a hasty finish, will make no difference in the gen- 
eral effecl of the gai-ment. It certainly Avill, as she 
will find to her sorrow. 

Absolute correct measurements and neatness of 
finish are essential to good workmanship. 



A Few Facts Concerning Dress Cutting 
and the System to Use 



There are many devices and methods used, nearly 
all of them having some good points, even the ma- 
chine and charts: but in no in.stance is either a ma- 
chine or chart used in designing or cutting for high- 
grade manufacturing jiurprtses. You need not take 
our word, but go and sec the manufacturers and 
satisfy yourself. 

As to ladies tailors and first-class dressmakers the 
machine and chart systems can nowhere be found in 
use in th<'ir establishments. Go to Redfern, Haas 
Bros., Donovan's, ^frs. Osbourn's, iMcC'reery's. Alt- 
man's, Lord & Taylor's, Green's, in fact, a.sk any 
first-class dressmaker or ladies' tailor, and invariably 
they will say, they use a srpiare measure sj'stem. 
Then liy all means learn the s<iuare measure system 
and make u.se of it. It will be a recommendation in- 
stead of a hindrance to vou. 



The S. T. Taylor .system of dress-cutting is the 
only .system not a chart. It is the great and original 
Taylor s^-steui. It was invented in 1848. Since that 
date, a great many have tried to infringe upon and 
immitate both the name and the system, but so far 
none have equaled it in any respect, nor have they 
ever l)een able to displace it from any of the large 
establishments who take pride in the fact that the 
name S. T. Taylor Co.. is upon every part of the 
.system used in their cutting and work rooms. 

The great success of the S. T. Taylor .system is due 
to its sim]>licity and accuracy, and to the fact that it 
can be adapted to every change in fasiiion. It is 
used by the S. T. Taylor Co., in designing and cut- 
ting every one of their celebi-ated Le Bon Ton pat- 
terns. Le Bon Ton is published by the S. T. Taylor 
Co.. and is acknowledged to be the most exclusive 
and highest class fashion magazine i)ublished. 



Definitions and Pronunciation of Some Technical 
Terms Used in Dressmaking and Tailoring 



Accordion Plaiting (Ak-kor-dion IMat-ing i —Singh 
jilaits to staml back and forward, as the bellows on 
an ai'cordion; can only be doiii' by machine. 

Ajour (Ah-shuri — .\n openwork in embroidery. 



All)atross (Al-ba-ti-ossi — A soft, fine wool ma- 
terial. 

Antiijue (Au-teek) — Generally used to designate 
of former centuries. 



S. T. TAYLOR SCHOOL AM) PATTLHN PARLORS 



39 



Albert Cloth — Xamcnl for JiJnglands Prince, is a 
reversible all-wool material, each side of different 
colors and so iinished that no liiiino; is required. It 
is used chiefly for coats and cloaks and is better 
known as "golf cloth." "plaid nack," etc. 

Appliiiue (Ap-plce-kay ) — To apply one material to 
another, as lace ornaments are sewed to silk and the 
like ; also used to designate a certain embroidery 
and lace. 

Ajtron (A-pron) — A drajied or flat skirt front. 

Ai-abesque (Ar-a-besk) — Scroll figures. 

Armure (Ah-moor) — A fancy weave having a 
birds-e ye or diaper effect. 

Astrakhan (As-tra-can i — Fur of the astrakan goat, 
very wavy and short. 

Astrakhan Cloth — An imitaticm of astrakhan made 
with a glossy, curly fur. 

Haby. or Persian Lamb (Per-sheu) — Fur skin of 
the stillborn lamb. 

Basque (Bask) — A tiglit-titting waist extending 
beloM- the waist line in different shapes. 

Batiste (Ba-test) — The French word for lawn, fine 
white cotton or linen fabrics, sometimes printed. 

Batting or Padding — Cotton or wool prepared in 
sheets for quilting or interlining. 

Battlements (Bat-tle-ments) — Square cut tabs. 

Beaver (Be-ver) — Similar to kersey, but Avith a 
long nap ; soft, thick nap inside. 

Bayadere (By-a-dare) — Uucvi'n stripes runuing 
crosswise of the material. 

Bedford Cord — A closely woveu woolen or cotton 
cloth having a raised corded surface similar to 
pique. 

Bengaline (Beu-ja-leen) — A material with a heavy 
filled cord covered with silk or wool. 

Bertha (Bertha) — Any kind of a trimming such as 
a ruft'Ie or shaped rever following tln' outline of a 
low-necked or yoke waist. 

Beurre (Bu-ray) — Butter color. 

Bias (By-as) — The diagonal edge of matt'rial. 

Bishop Form (Bc-shuj)) — A shape, like sleeves 
Avorn on the robes of the Episcopal Church, either 
plain or gathered at the top, the fullness at the lower 
part being caught to a liand over which the fullness 
dro])s to form a puff'. 

Blazer (Blaseri — A cutaway .iaeket, generally un- 
buttoned in front, and extending below the waist 
line. 

Blouse — Loose round waist, or in other words, a 
full waist to drop over the waist belt. 

Boa (Bo-ah) — A long or short Huffy ariicle for tlie 
neck ; made of feathers, fur, lace, etc. 

Bodice (Bod-is) — A close-fitting waist. 

Bolero (Bo-leer-ro) — A small, i-ouml sleeveless 
jacket. 



Border (Bor-der) — A garniture at the edge or just 
above it. 

Boucle (Boo-clay) — Tiny locks of hair scattered 
over the surface of a avooI material. 

Bouffant (Boo-fon)— A very full effect. 

Bouillounce (Bul-yon-nay) — A [)uffing. 

Bourette (Boo-ret) — Kongh threads or knots in 
straight or uneven stripes. 

Box-plait (Box-plate) — A liaek and forward laid 
plait. 

Bretclle (BraytelD— A re\er-band, or the like, 
extending from the shoulder to the waist line, front 
and back ; often known as suspender trimming. 

Brilliantine (Brill-yan-teen) — A coarsely woveu 
moliair with a glossy surface. 

Broche (Bro-sha) or Brocade (Bro-cade) — An em- 
broidered effect obtained by weaving. 

Broadcloth — A fine woolen cloth with a glossy 
finished surface. It takes its name from its width. 
It is used for men's and women's wear. 

Buckram — A coarse, plain woven linen or cotton 
material used for stiffening. 

Buckskin — A stout dooskiu with a more defined 
twill. 

Brode (liro-day) — Eml)roitlcred effects. 

Cabuclions (Ca-boo-shon) — Large, usually round, 
ornaments of jet, inetal, glass, pearl, etc., used as a 
trimming. 

Cambric (kam-brie) — Fine white linen, also made 
in cotton in imitation. 

Camels ILnir — A beautiful, soft, silky fabric, usu- 
ally woven like du'viot of hair of the eanud or goat. 

Canvas — A closely woven linen or cotton material 
used for stiffening. 

Canton Flannel — A stout, twilled cotton cloth with 
a nap on one or both sides, used for clothing or deco- 
rative purpo.ses. The cheaper grades are used for 
interlining silks, etc., to give them extra weight. 

Caracule (Ca-ra-cool) — Fine astrakhan fur, with a 
moire or watered appearance. 

Carreau (Car-ro) — Cross-bar, square or checked 
figure. 

Cashmere (Cash-mere) — A soft wool material \\ith 
a diagonal ril) on the right side. 

Cascade (Cas-eade) — ilaterial eut slant and 
plaited over each other to form shells. 

Cliangenant (Shan-sluin'i— or Chameleon (Car- 
may-le-on") — Two or more colors woveu together to 
produce changeable effects. 

Chenille (She-neel) — A soft, hairy cord. 

Cheviot (Siia-vi-ot) — A wixd material with a diag- 
onal cord. 

Chitt'on (She-fon)— A very soft, flimsy, thin silk 
material. 

Chine (She-nay 1 — An effect produced by printing 



40 



LNSTKLCTION HOOK [•OK Si:\\I.N(i AM) I'lTTlNCJ COURSI>: 



the warp Ix'foiv wraviiiu- iind tln'ii tilliiiu with plain 
colors. 

Clunix (Shoe) — A huy:e rosette. 

C'oHarette (Col-lar-et)— or Collet (Col-lay )— Vari- 
ous shaped collar covering the shoiildcis. 

Corduroy (Cor-de-roy) — A heavy rilthed vilvctei'ii. 

Crash (Crash) — Coarse kitchen toweliiiij-liki' ma- 
terial, in colors ranging from crru to Inowii. 

Cravattc (Cra-vat) — A how or (he like worn al Hie 
neck. 

Crepe Lisse (Crape-lease) — A rrapc-liiiislic(i silk 
fahric. very thin and trans])ai-eiit. 

Creponette (Cre-pon-net t — A cri-nklcMl crcpr dr 
chine. 

Crushed or Drajx-d Relt — A bias pii>ec o1' material 
laid in folds. 

Cuir (Queer) — Leather colored. 

Cuirass (Queer-ass) — A perfectly plain rhise-littini:' 
waist. 

Deheifrc ( Day-haysh) — A sol'l wool material -woven 
in niixed colors of j;rays and browns. 

Decollette ( l)ay-col-t ay )— Low-necked. 

Denim (Dc-nini) — A lieavy cotton matei-ial with 
a smooth finish on the up])er side. 

Doeskin (Doe-skin) — A coni])aet twilled woolen, 
soft and i)lia])le. 

Di-illin<i (Dril-ing) — General term for various 
twilled cotton stufl's used for liniiifi', men's wear. (>tc. 

Dresden (Drcs-den) — Pi-intcd tifrnres reseiidilini,' 
Dresden china. 

Drop Skirt — A skii't of dress material made separ- 
ate from the lining, hut joined in one belt. 

Dutch Neck — The waist cut scpiare or round two 
inches below the throat. 

Empiecement (Em-])iece-ment) — A piece set in 
where outer material is cut away. 

Epaulette (Eh-|)aw-let) — A shoulder trimming to 
extend o\'er top of sleeve. 

Etamine (Eh-ta-nieen) — A transparent \\d\-en 
wool or silk and \vool uiatei'ial. 

Eton (E-ton) — A .short stiuare-formed jacket. 

Eyelet (I-let) — A hole or loop worked in a gar- 
ment to receive a hook, cord or the' like. 

Faconne (Pa-son-nay) — Fancy. 

Faille Francaise (File-Frahn-say) — A silk material 
with a soft cord. 

Fantasic ( Fahu-ta-see) — Something imaginary. 

Felling (Fell-ing) — To hem tlie edges down of a 
seam to protect the edges. 

Farmer Satin — A lining of cotton, chain or war|) 
and wool filling, finished with high lustre. 

Festooned (Fes-tooned) — Drape<l in curves. 

Fichu (Fi-shoe) — A drajied piece crossing the 
shoulders, with long ends in front. 

Flannel — A soft, light weight woolen fabric, of 



which the yai-n is but slightly Iwisti'd, plain weave, 
or twilled. 

Flannellette — A cotton imitation of llannel. 

Kohl — Is made by doubling oni' part of the ma- 
terial over the other. 

Foulard (Ku-lardi— A soft silk with a tin- diagonal 
twill or cord. 

French Hack— The usual thi'ce seamed hack with 
ciiivcd seams terminating at the aiaaholc. 

Kranch (iather.s—( lathers made with one long stitch 
on the outside and a shoi1 cr one uiulcrneath, or vice 
versa. 

Ki'ench Seam — French seams are scams lirst 
stitched on the I'ight side of the garment near the 
edge of the seam allowance, and then turned to the 
inside and stitched on the sewing lines, thus hiding 
the seams. 

F'ringe — Strands of beads, silk, chenilU\ or the 
like, fastened to a wide or narr'ow band. 

P''i-ogs — ^Military braid ornaments, generally used 
on the fi'ont of waists or coats. 

P'ull Back—The l)ack breadths of a skirt gathered 
at the top. 

Galloon (Ga-loon) or Pasementerie (Pass-a-men- 
tree) — T?ead, si)angles, braid, etc., dress trimmings. 

Gathering (Gath-er-ing) or Gauging (Gorge-ing) — ■ 
Is done by running the needle in and out of the ma- 
terial, that the later mav be drawn together oxer the 
thread. 

Gautfre (Gof-fray) — Silk material pi-<'ssed into 
forTns or pattern.s. 

Gauntlet Cuff (Gaant-let)— Ts shaped like the 
gauntlet on a lading glove, modeled al'tei' tlie an- 
cient glo\es of knights. 

Gauze (Goiv.e) — A wiry, transparent, \'ery lini' silk 
iriater'ial. 

Gigot (.Tig-o) — Tvarge putt" s|ee\'e at top tcnninat- 
inu' close below. 

Girdle (Gir-del)— A shape<l belt for the waist. 

(tlace (Glasay) — A snu)otli, glossy .surface. 

Godet (Go-day) — A shaped gore forming (^rgan- 
pipc plaits. 

Gofifer (Gof-fer) — Se\-eral rows of running stitches 
jiarallel with one another, to draw the matcri.il to- 
gether. 

(iors^-et ((iorsch) -High collar shapcil low in front 
on till' lower edge, like collars of coats fornii'rly 
wiiiai by knights. 

Gral'ling (Graft-ing) — Is done by joining two 
edges with darning stitches in such a maimer as to 
render the joining invisible. 

Granite (Gran-eat) — A slightly raised arnmre ef- 
I'ccl in silk and wool materials. 

(irenadine ((ii'en-:i-deen)- .\ transparent coarse 
weave silk and silk and wool material. 



S. T. TAYLOR SCHOOL AND PATTERN PARLORS 



41 



Grosgrain (Gro-grain) and Gros do Londrcs (Gro- 
day-Lon-dray) — Finely ribbed silk material. 

Guimpe (Gamp) — A loose waist, with yoke and 
sleeves, to be worn with low-necked sleeveless dress 
waists. 

Habit (Ha-beet) —Pertaining to riding eoustume. 

Habit iBack Skirt — Is a skirt without the regular 
inverted plait or any extra fullness at the back. 

Haircloth — A cloth woven of horse hair one way, 
from which it takes its name, and cotton or linen 
threads the other. 

Harlequin (Ilar-la-keen) — Of different colors. 

Hem — A fold, made by twice turning over the edge 
of the material, and then sewing it down. 

Home Spun — A cloth woven on hand looms or 
made in imitation of such cloth for both men's and 
women 's wear. 

Imprimie (Im-pri-may) — Printed. 

Incrusted or Incrustration — A piece set in. 

Irridescent (Ir-ri-des-eent) — Changeable rainbow 
effects. 

Jabot (Sha-bo) — Generally a full gathered lace or 
the like arranged to fall in shells. 

Jardiniere (Sha-di-nehr) — Color effects resembling 
a bo<piet of flowers. 

Jean — A heavy cotton material much like denim. 

Jersey Cloth — Woolen Stockinette. 

Kaikai — A thin Japanese silk. 

Khaki (Kahke) — A light brown colored cotton 
cloth used in army service in hot countries. 

Kersey (Ker-sey) — An English cloth with a diag- 
onal twill or cord. 

Kilt — Side plaits turning all one way. 

Lance (Lahus) — Small dots. 

Ladies' Cloth — A fine, wide, wool flannel, slightly 
napped, similar to broadcloth. 

Lansdowne (Lands-down) — A \ery fine silk and 
wool material. 

Lapels (La-pels) — Turned back jiieces to form a 
trimming. 

Leg Mutton (Leg-o-mutton) Sleeve — Full puff at 
top, terminating chise at tlie wrist, very much re- 
sembling a leg of mutton. 

Liberty Crepe (Crape) — A very soft crape like 
material. 

Liberty Satin — A very soft bright satin. 

Liberty Silk — A very soft clinging silk. 

Louisiene Silk (Lu-i-scen) — A medium weight soft 
silk with an almost invisible rib. 

Louis XV-XA^L, Colonial (Co-lo-no-al), Directoire 
(Di-rek-to-ar), Empire (Em-pire), Regence (Ray- 
gence), Victorian (Vic-to-ri-an) — Styles similar to 
those prevailing at such named periods. 

Melange (Me-lahn-jay) — A mixed effect of a num- 
ber of colors. 



Slirror (Mir-ror) or iliroir (Mir-o-ar) — Veiy glos- 
sy mirror effect, easy obtained by ironing over the 
top surface of velvet or satin. 

Mohair (ilo-hair) — A wiry, finely woven wool 
material. 

Mervellieux (Mer-vel-yay) — An entirely silk satin. 

Moreen (Mor-een) — A corded, M'iry, mixed ma- 
terial, with a watered effect surface. 

Motif (Mo-tif)— Part of a design. 

Mousselin(^ de Sole (IMus-lin-day-swa) — A trans- 
parent silk, or silk and cotton, with more body than 
chift'on. 

Nap — The shaggy substance on the surface of 
cloth, velvet or silk materials. 

Nacre (Na-eray) — Mother-of-pearl effect. 

Notte (Nut) — Basket weave. 

Oriental (0-ri-en-tal), Persian (Per-shan) or In- 
dienne (Tn-di-en-na) — Mixed patterns such as are 
found in Pei'sian shawls, etc. 

Ottonum (Ot-to-man) — Heavy rep, rib or corded 
nmterial. 

Overcasting — Is done by taking loose stitches over 
the raw edge of material, to keep them from ravel- 
ing, the operator working from right to left. 

Overhanding — Is done by sewing closely over two 
edges of the material. These edges may be either a 
selvedged or a creased fold, the operator working 
from left to right. 

Pailette (Pay-let) — Spangles. 

Panel (Pan-el) — A lengthwise piece of material 
between two rows of trimming, generally used on 
skirts. 

Panach (Pan-asch) — A cluster of short feathers. 

Panne (Pan) — Very glossy, mirror effect. 

Pagoila Sleeve (Pa-go-da)— A sleeve gathered full 
in the ai-mhole, and falling away loosely straight 
across the lower edge, with front seam left open, 
very much like the Grecian sleeve, sometimes called 
the "Angel" sleeve. 

Pattes (Pat-tes) — Cut pieces falling loose. 

Peau de Sole (Po-de-.swa) or Poult de Soie (Polt- 
de-swa) — An entirely silk satin very much alike on 
both sides. 

Peau de Cygne (Po-day-seen) — An entirelj' silk 
satin, quite soft. 

Pegnoir (Payne-eor) — A loose morning gown. 

Pelerine (Pel-er-ine) — A short shoulder cape. 

Placket (Plack-et)— The opening of a skirt. 

Plait (Plate) — Folds to turn such was as desig- 
nated. 

Plastron (Plastron) — An extra top trimming piece 
of a waist. 

Plumetis (Plu-may-tis)— Printed and dotted fal)- 
rics. 

Pointille (Poin-til-yea) — Dotted. 



42 



INSTRUCTION BOOK FOR SEWING AND FITTING COURSE 



Polonaise (,Pol-oii-nay.s) — Waist and ovorskirt or 
tunic cut in one. 

Pompadour (Pom-pa-dur) — Flowered effects as 
worn at the time of Louis XV. 

Postillion (Pos-till-yon)— Waist back, with exten- 
tion below waist line. 

Princess Wrapper — Waist and skirt jiarts cut in 
one. 

Quadrille (Kwad-rill) — Small scpiare checks. 

(^uilliufj; (Kwill-ing) — Narrow plaited effects. 

Kaye (Ra-yea) — Stri])ed, rays. 

Kedingote (Red-ing-otej — An outside gai'inent in 
polonaise style. 

Revers (Re-veers) — Turned l)ack pieces I'orniing a 
trimming. 

Ruche (Rooehe) — A strii) of material finely i>laiti'd 
or sewed or gathered through the centre. 

Running Stitches — Are doiu' by passing the needle 
in and out of the matei'ial at regular intervals. 

Sateen (Sa-teen) — A cotton satin finished material 

Satin de Lyon (Sa-tin-day-Li-yon) — A fine (|uality 
of silk manufactured at Lyons, France. 

Scintillaute (Sin-till-yant) or Changeant (Shahn 
shalin) — Changcidile. 

Selvedge (Selv-edge) — A finished edge ol' the ma- 
terial that cannot unravel. 

Serge (Serj) — A wool material with a diagonal 
cord or twill. 

Serge — To overcast. 

Serpentine (Ser-pen-teen) — Spiral or twisting 
shape. 

Sha])ed Belt — A wide belt cut to fit the figure and 
kept in shape with whalelxmes. 

Shirring (Shii'r-ing) or Gott'ering ((iof-fer-ing) — 
Is done by making several rows of running stitches 
parallel with oiu- another, and the material drawn 
together over these. 

Sicilian (See-sil-yan) — A wiry glossy silk and woul 
materials nuudi reseml)ling brilliantine. 

Spanish Flounce — A deep gathered lloutice Joined 
to the edge of a short skirt. 

Shoddy — Waste thrown otY in s|iinniiig, slii-eddeil 
rags, and hits of cloth nuinipulalcd into new cloth. 

Silesia (Se-li.s-ha) — A light close woven, fine 
twilled-cotton fabric used for dress linings, etc. 



Stock Collar — A full or draped piece of material 
drawn over a j)lain foundation collar. 

Stole — Pieces of material worn down each side of 
the front the same as a Catholic Priest wears over 
his gown. 

Strass — Paste or artilicial diamonds, commonly 
known as rhinestones. 

Slip or Blind Stitch — Invisible stitches. 

Suede Kid (Swede) — Dull kid, or a skin from 
which the gloss has been nd^bed of¥. 

Sun-plaiting — Graduated aceordeon plaiting. 

Surah (Soo-rah) — A soft silk with a fine diagnoal 
cord or twill. 

Swansdowne (Swans-down) — A soft feather fur 
the same as used for powder puffs. 

Taffeta (Ta-fet-ta)— A smooth, thin silk with i|uite 
some body to it. 

Tabs — Loose hanging pieces. 

Taut (Tort)— Stretch. 

Textile (Tex-tile)— A material. 

Tunic (Tu-nie) — An overskirt. 

\'andyke (Van-dike) — Cut in itoints. 

Velour (Vel-oor) — An extra heavy \'elvet with a 
deep pile. 

Velveteen (Vel-ve-teen) — A cotton vehet. 

Vest — An extra piece or trimming set in the front 
of a waist or coat. 

Voile (Voil) — Nuns veiling or a fine wool material. 

Volant (Voo-lahn) — A plain gath(>red strip of ma- 
terial commonly knowTi as ruffle. 

V-Shaped — Cut out in the letter V form. 

Warp — The lengthwise running threads of n nui- 
terial. 

Watteau (Wat-to)— A box-plait at the back of a 
long garment, caught at the upper i)arf of the waist. 
To fall loose below. 

Whipping — Forming gathei's by over-casting a 
rolled edge of fine material and drawing uji the 
threads. 

Yoke — A s([uare or round piece ol' niatci'ial across 
I he chest and shoulders. 

Zouave (Zoo-of) — A bolero .jacket. 

Zibeline (Si-ba-leen) — A wool material wifli long 
hairs. 



INDEX 



Adjusting Outer Portions of Garment to Linings. 19 

After the First Fitting 1-i 

After the Second Fitting lH 

Allowing for Seams (J 

Arranging Patterns on Material 5-37 

Arranging Patterns on StriiK's and Plads 24 

Back Stitch 20 

Basting, as a Stitch 25 

" Uneven as a Stitch 22 

Even as a Stitch 25 

Basting, IIow to Do 7-25 

Basting AYaist Lining Together 7 

Basting Sleeve Lining Together 8 

Basting Skirt Lining or Foundation Together. .8-37 

Basting Collars 22 

Basting to Draw Out 3(i 

Becoming Lines and Colors (See Lines, Becom- 
ing) 36 

Belt Inside of Waist, llow to Make and Ad.just. . 20 
Belt or Band on Skirt, llow to .Make and Adjust in-20 

Bias, to Cut on True 23-31 

Blind Stitch 28 

Boning 16 

Boning With Whalelione 16 

How to Bone Waists l(i 

How to Bone Collars. Belts and Girdles 17 

Bone Casings to Apply 17 

Bones, Springing in Casings 17 

Boning Tub Dresses 17 

Boning with Featherbone 17 

Buttonholes 33 

How to Cut Buttonholes 33 

To Cut Buttonholes in Materials which Fray. . 33 

llow to Work Buttonholes 33 

Various Styles of Buttonholes 34 

Round Edge. Plain. Single Bari-ed Buttonhole. 34 

Double Barred Buttonhole 34 

Eyelet Buttonhole 34 

Pressing Bottonholes 34 

To ]\[ake Imitation Buttonholes 34 

Buttons. To Sew on 35 

Buttons, Sewing on for Trimming Effects 35 

Buttons, Thread for Sewing on 35 

Chain Stitch 30 

Chalk for Marking 3 

Collar Canvas for First Fitting 9 

Collars, How to Make 22 



Collar, To Correct Errors in 12 

Collars, How to Make for Fancy Dresses 22 

Collars, How to Make for Tub Dresses and 

Stocks 22 

Collars, How to Make Shirt Waist Collar Band 22 

Collars, How to Make Sailor Collars 22 

Collar, To Fit 12 

Corners, To .Mitre 32 

Closing Edges. How to Finish 6 

Cross Stitch, How to Make and Its Uses 16-30 

Colors Harmonizing with the Conii)lexioa. Color 

of Eyes and Hair 35 

Correcting Errors in Sleeves 12 

'• ' " " Skirts 13-18 

" Waists 10-11 

" Lines 36-37 

Cutting Out .Matciial 6 

Cutting Plaiils and Stripes 24 

Cutting the System to Use. Facts Concerning. .. 38 

Darts in Waists 7-14-21 

Darts in Skirts 21 

Definitions and Pronunciations of Technical 

Terms 38 

Drawing 28 

Drawing. Fine 28 

Facings, How to ilake and Apply 32-20 

Facings, Shaped 32 

Facings. Bias 32 

Feather Stitch 30 

Feather Boning 17 

Felling 29 

French Fell Seam 16 

Figure, To Improve 36 

Fitting. How to Do 9 

Fitting Collar 12 

■' Waist 9-10 

" Skirt 13 

'• Sleeve 11-12 

Fitting. First 9-11-13 

Fitting. Second 19 

Finishings 1 5-25 

Finishing Seams 15 

Waist 15 

Lining Skirt 18 

Skirt 19-20-21 

Sleeve and Collar 22 

Darts 7-14-21 

" Closing Edges 6 



44 



INSTRUCTION BOOK FOR SEWING AND FITTING COURSE 



Folds, How to Cut Make and Apply 23-24 

Folds, Plain of Silk, Velvet, etc 2:5 

' ' Narrow 23 

" One Over-Ijapi)ing- the Otliei- 23 

" Milliner's 23 

' ' of Crepe 24 

Gathering 27-38 

Gusset 31 

llarmouizino; and Becuming Colors 3;") 

ll.'lpful Facts 37-38 

llemmiug 31 

Hem in Heavy Textiles 31 

' ' In Thin Fabrics 31 

" With Bound Edge 32 

" On Outerside of Garineut 32 

" In Wash Fabrics 32 

" French Fell 32 

" Narrow Hollow, or Roll 32 

" Co'rners of to Turn or ]\ntre 32 

1 looks and Eyes, How to Sew on 6 

Irons 3 

Kensington Stitch 30 

Knot, How to Make 2.") 

Laying Patterns on Material 5-37 

Loop Stitch 29 

Lines, Becoming To Improve the Figure 3(1 

Colors, Styles, Lines and Fabrics Suitable for 

the Stout Lady 3fi 

Colors, Styles, Lines and Fabrics Suitable for 

the Slender Lady 36 

Correct Lines for the Short Individual 36 

" " Tall Individual 36 

" " " " Short Waisted Individual . 36 

" " " " Long AVaisted Individual. 36 

" " " " ^Vonian with ]\rore Than 

Average; Rotundity 36 

How to Conceal an Abnormally Large Abdomen 37 
How to Improve the Lines of the Short Neck 

and Make it Appear Longer 37 

How to C'onceal a Large Bust 37 

IIoAV to Ini])rove the Lines and ('onceal Large 

Hips 37 

How to Improve tlie Lines and Conceal Round 

Shoulders 37 

How to Improve the Lines for Sloping Shoul- 
ders 37 

How to Conceal I'rolruding Shoulders, or Un- 
even Shoulders 37 

How to Improve and C!onceal Uneven Ilijis. ... 37 
How to Improve and Conciuil Hollows and De- 
fects in the Back Just Below the Waist Line 37 

Marking Cotton 3 

.Marking Goods 5 

.Matching Stripes and Plaids 24 

.Machine Stitcliing 31 



Making and Adjusting Fancy Sections of Gar- 
ments to Their Respective Linings 19 

Mitre, How to JMake 32 

Mirror 4 

Needles 3-25 

Needle, How to Hold 25 

Outer Sections of Garments, How to Make and 

Adjust to Linings 19 

Over-Casting 16-27 

Over-Handing 26 

Padding. How to Make and Apply 18 

Padding for Waists " IS 

Padding for Skirts 18 

Patterns 5 

" Laying of, on Material 5 

Pins ." 3 

Piping, How to Make and Apply 24 

Piping, How to Make Cord Piping 24 

" Fold, How to Make 24 

Plaids (See Stripes and Plaids) 24 

Placket, How to Make Plain, at Seam Opening. . 20 

Placket, In Plain Habit Back 21 

Under Inverted Plait 21 

Under Box Plait 21 

" Under Plaited Draperies, etc 21 

In Gathered Skirts 21 

" In One Piece Dress 21 

" Opening, Length of 21 

Pressing Boards 3 

Pressing 15 

Pressing in General 15 

' ' Armhole Seams 15 

" Hems 15 

Velvets, Silks 15 

Pricking 28 

Preparing Waist Lining for Basting 7 

Pronunciation of Technical Terms 38 

Running Stitch 26 

Running Back Stitch 26 

Raising the Pile and RencM-ing Crushed Velvets. . 15 

Seams, How to Make Allowance for 6 

Seams, How to Baste : 7-8-22-37-38 

Waist, How to Baste 7 

Sleeve, How to Baste 8 

Skirt, How to Baste ^ 8 

Collar, How to Baste T 22 

Seams, How to Stitch 14-37-38 

Stitching Waist Seams 14 

' ' Sleeve Seams 14 

' ' Skirt Seams 14 

Collars 22 

Seam Edges, To Trim 14 

Seams, How to Press 15 

Seams, How to Finish 15 

Seam Binding 15 



S. T. TAYLOR SCHOOL AND PATTi: liX PARLORS 



45 



Ovcr-Casting- I'j 

Imitation Strap Kiiiisli 1<) 

liapiH'd Spams 1« 

French Fell Seam ItJ 

Seam Finish for Laees 16 

( 'ross Stitch Finish I'i 

'.'inking T; 

Soams, How and Where to Slash 8 

Second Fitting 1-) 

Second Fitting, After 19 

Sewing Machine 3 

Sewing Chair 4 

Sewing on Hooks and Eves 6 

Sergiug 29 

Shirring 28 

Shrinking and Sponging Cloth 4-37 

i^hrinking Broadcloth 4 

" Glossy Finished Woolens 4 

" Cheviots, Serges and All Worsteds 4 

" Materials Without a Glossy Finish. . 4 

* ' Linens 4 

' ' Canvas 4 

' ' Haircloth 4 

" Braids and Finishing Materials. . . .-4-37 

Shears 3 

Skirt ]\Larker 3 

Skirt Ruler 4 

Skirt Foundation or Fjiinng. How to Baste 8 

Skirt, To Fit 13 

Skirt. Wrinkles Across Fi'ont or Back near 

Waist Line 13 

Skirt, Caps or Fullness at Ends of Darts 13 

" Falling Toward Front 13 

" Poke in Front at Bottom 13 

Too Tight or Too Lose at Hip Line 13 

" ILirking Waist Line of 13 

" To Pad 18 

" To Finish 18 

Slip Stitch 28 

Sleeve, How to Bast(> Together 8 

Sleeve, How to Fit 11 

Sleeve, Hanging of 11 

" Cori-eeting Errors in 12 

" Wrinkles Across Toj) of 12 

" Twisted at Hand 12 

Slashing of Seams 8 

Sponging and Shrinking of Cloth (See Shrinking) 4 

Stoating ^ . 28 

Stitches :— 

liasting Stitch. Back Stitch, Blind Stitch, 
Drawing, Fine Drawing, Cross Stitch, Feath- 
er Stitch. Loop Stitch, Kensington Stitch, 
Chain Stitch, Hemming, Felling, Pricking, 



Over-handing, Over-casting, Running Stitch, 
Ruimiug Back Stitch, Sergiug. Gathering, 
Sliirriug, Tacking, etc. . .25-26-27-28-20-30-31-32 

Stripes and Plaids 24 

Stripes and Plaids, Arrangement of Patterns on 24 

Cutting of 24 

Matching of 24 

Steaming Velvet l-J 

Steaming Seams Open ■ 15 

System to Use for Dress Cutting and ija<ties' 

Tailoring 38 

Square 4 

Tape Measure 4 

Tables for Cutting and Basting 3 

Tracing Wheel 3 

Tracing Cloth 3 

Tacks 25 

Tacking 29 

Ta(dving Stitch 29 

Thimble 4-25 

Thread 3-25 

To Lni)rovi' the Figure, Becoming Ijines 3(>37 

To Draw Out Basting 14 

Tools Necessary 3 

Trimming Seam Edges 14 

Velvets:— 

How to Make. Correct Direction of Pile 37 

To Baste 37 

To Press 15 

To Steam 15 

To Raise Pile on Crushed Velvets 15 

Waist Lining to Prepare for Basting 7 

Waist Lining, Basting Together 7 

Waist Seams. To Stitch 14 

Waist Belt, Inside of 20 

Waist, How to Fit & 

Waist, Correcting Errors in: — 

Crosswise Wrinkles in ITnderarm Piece 10 

Wrinkles Between the Last Dai't and TTndcM-arm 

Piece 10 

Wrinkles in Seams 10 

Wi-inkles at the Waist Line 10 

Wrinkles at the Back Near the Xeck 10 

Wrinkles Extending Downwai-d in Front of 

Shoulder and Armhole 10 

Wrinkles Around Xeck Curve 11 

Waist Drawing to One Side 11 

Waist Binding Across Bu.st 11 

Fullness Between Top of Dart and Shoulder. . 11 
Drawing or Short From Top of Dart to Shoid- 

der 11 

Waists to Pad 18 

AVhale Bone 16 

W(n'kroom X^ecessities 3 



0f ^axlnrtal Arts 



EXPERT INSTRUCTIONS IN 



Garment Cutting, Fitting, Dressmaking, Ladies' 

Tailoring, Designing, French Millinery, 

Furrier's Art, Creator's Art, and 

Hand Decoration of Garments 



ADVANCED COURSES 

Teaching Expert Work in Every 
Branch from Foundation to 
Finish for Business Pur- 
poses, Manufacturing, 
Retail or Exclusive 
Establishment 



217-225 SCHOFIELD BUILDING 

CORNKR F.lKXll) AND NINTH STS. 

CLEVELAND, OHIO 



MRS. W. E. VAN AME, Manager 



LIBRARY OF CONGRESS 




014 061 830 5 • 



